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SELECTIONS 


FROM THE 


GREEK LYRIC POETS 


WITH 


A HISTORICAL INTRODUCTION AND 
EXPLANATORY NOTES 


REVISED EDITION 


BY 


HENRY M. TYLER 


PROFESSOR OF GREEK IN SMITH COLLEGE, NORTHAMPTON, MAss. 





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GINN & COMPANY 


BOSTON - NEW YORK - CHICAGO - LONDON 


GENERAL 


COPYRIGHT, 1879 
By GINN & HEATH 


COPYRIGHT, 1906 
By GINN & COMPANY 


ALL RIGHTS RESERVED 


66.3 


The Atheneum Press 


GINN & COMPANY: PRO- 
PRIETORS - BOSTON - U.S.A. 





PREFACE 


It is now twenty-six years since this little collection of 
Greek poems was first presented to the public as a text-book 
to be used in our American schools and colleges. In the 
revision which is now offered it is hoped that the friends 
whom the book has won may be pleased by its new appear- 
ance, and that it may be better fitted to encourage interest 
in this form of poetry which is so closely connected with 
the common life of the Greek people. We have_no literature 
which gives a more truthful picture of what the Greeks really 
were. If we are seeking expressions of the. Greek spirit, try- 
ing to find the sincerest utterances of Greek feeling, we can 
search nowhere with better results than among the fragments 
which are left to us of this popular poetry. 

The purpose of the book is particularly to suit the needs of 
students in the first or second year of the college course. It 
has been my desire to make the notes full enough to enable 
such students, with reasonable study, to understand the text, 
and yet to have them brief enough so that one may hope that 
they will be generally read. Examples of parallel thought 
and expression have been introduced to a limited extent, but 
here also I have tried not to weary the attention of the aver- 
age student. The book is small and might perhaps profitably 


be larger: its object is to whet appetite, not to surfeit it, 
iii 
1487959 


1V PREFACE 


The text is generally that of Bergk’s fourth edition. Where 
I have not followed him I have endeavored to give his reading 
in a foot-note. The grammatical references are to Goodwin’s 
grammar (G.) and to Allen’s edition of Hadley (HA.); also 
to Goodwin’s Greek Moods and Tenses (GMT.). There are a 
few references to White’s translation of Schmidt’s Rhythmic 
and Metric (S8.). ° 

The poems which were included in the first edition are, 
with a very few exceptions, also in the present work. To 
these have been added the fragment from Aleman and four 
from Bacchylides, which can hardly fail to prove a welcome 
addition. Peek. 

I' take this opportunity to acknowledge my obligations to my 
associate teachers, Professor Julia H. Caverno and Dr. Amy L. 
Barbour, for valuable suggestions and assistance. I shall be 
erateful to friends if they will send me corrections as they 


note the need of them. 


HENRY M. TYLER. 
SmitH CoLuece, November 6, 1905. 


CONTENTS 


HISTORICAL INTRODUCTION . 


ELEGIAC POETS 


CALLINUS 
TyRT£ZUS 
MIMNERMUS 
SOLON 
XENOPHANES 


THEOGNIS 


IAMBIC POETS 
ARCHILOCHUS 


SIMONIDES OF AMORGOS 


MELIC POETS 
ALCMAN . 


SAPPHO 

ALCEUS . 
ANACREON 
ANACREONTEA . 
SrmMonipes OF CEOs . 


BACCHYLIDES . 


1S dit ON Ue garner 


ater 
“a 





HISTORICAL INTRODUCTION 


The beginning of European literature is found in the Homeric 
poems. This is the beautiful portal which marks the opening of 
occidental life and thought. To all of our modern civilization 
we must come by this entrance, or else feel that we are taking 
it from behind. European education, the appreciation of Euro- 
pean life, seems to lack its springtime —to be begun at the 
wrong point — unless we enter by way of the Greeks. 

And naturally as we stand in this portal we look both ways. 
What was the still earlier beginning? Who taught Homer 
to tell stories and to sing? Or, if Homer was but the person- 
ification of the talents of an age, what was the schooling which 
made the youth-time whose pulse-beat we can feel in the Iliad 
and Odyssey? What were the paths which led out of the 
mysterious past up to this border-land of recorded history ? 
It is a shadowy region into which we look as we try to realize 
what that prehistoric world was like. But we know that the 
Homeric poems have a world on either side of them, and the 
investigations which are carried on by our questioning age 
are constantly giving greater distinctness to our view of this 
distant past. We know something what that old world was, 
an era of palaces and princes and rude splendor well fitted to 
form traditions for the poets who should afterward tell of the 
heroic age. We can see that it was an age of story-telling, 
when the myths were elaborated and multiplied in endless 
variety of form, and that this myth-making civilization had its 
_ centers of culture and fashion, cities which have gained immor- 
tal fame because these stories loved to tell of them, 

vii 


Vill HISTORICAL INTRODUCTION 


And if the love of story-telling had been getting its slow 
growth for ages before the Homeric poems could be evolved, the 
love of music must also have had a history reaching far back 
into the past. A very simple music it was, but the rhythmical 
instinct had had long cultivation and had been long at work 
shaping the language, molding lines and phrases, and storing 
many of them up as a treasure for the poets of future time. 
If Homer impresses us as old, he quite as surely gives us evidence 
that he is the youthful heir of long ages which were older than 
he, and one of the chief delights which we find in his song is 
in his suggestions of the culture which he had inherited, and 
of the prehistoric education of the Greeks and of those who 
come before them. 

The sturdy material of the early inhabitants of the land had 
been modified to such an extent that they were convinced that 
the gods delighted in music, that the muses dwelt in the 
Olympian mansions and charmed the divinities by singing 
with beautiful voice. Apollo also gave them special delight 
by playing upon his phorminx. So effective was music in 
its influence upon his mind that all the day long the sons of 
the Achaeans propitiated him singing a beautiful paean, as they 
celebrated him with dance and song, that he might bring relief 
from the plague, and he was delighted as he listened. 

On the shield of Achilles as represented in the eighteenth 
book of the Iliad there is a scene where youths and maidens 
dance with hands upon each other’s wrists, while the divine 
bard plays and sings and the throng stands by admiring. This 
is a scene manifestly quite appropriate to the life of the Ho- 
meric age. It is an abundant proof that the music of the lyre 
and song had received long cultivation and that lyric poetry 
began its vigorous sway in Greek life ages before we can trace 
its products in extant literature. Such a picture means that 
to the Greek mind all heaven and earth were as full of music 
as of work, and Greek life was to be built upon that ideal, 


HISTORICAL INTRODUCTION 1x 


So from the earliest times the Greek language had adapted 
itself to song, and the history of Greek poetry becomes a 
history of Greece. The whole growth of the nation is pic- 
tured to us in the nation’s songs. Whatever the people 
thought, or planned, or did, flowed into verse as simply and 
naturally as in a school of artists all fancies clothe them- 
selves in form. The language became full of poetry which 
was a perfect reflection of Greek nature, with all that rich 
yariety of form and expression which were so characteristic of 
the products of the Greek mind. The Hellenic people would 
not tolerate a dull uniformity in thought or language. Nowhere 
was the Athenian disposition to see and hear new things more 
richly illustrated than in the growth of the national literature. 
But, what is even more remarkable, this Greek fertility did not 
trespass beyond the limits which Greek taste had marked out. 
Each new development came to fulfill appropriately a well- 
defined purpose. The growth went on with a perfect propriety 
of progress, as if there were some system of landscape-gardening 
which could control it to adapt each form and color to the place 
which it was destined to occupy. It was natural, but with a 
naturalness which anywhere else, especially with imitators, 
would be, and be felt to be, artificial. Greek songs, like the 
rainbow, had infinite different hues, yet all grouped under 
well-marked divisions of color. There was a prodigal abun- 
dance, yet no confusion. | 

I quote, because they are much better than anything which 
T can say, the words of Mr. Mure with regard to the interesting 
variety in Greek song: “From Olympus down to the work- 
shop or the sheepfold, from Jove and Apollo to the wandering 
mendicant, every rank and degree of the Greek community, 
divine or human, had its own proper allotment of poetical cele- 
bration. The gods had their hymns, nomes, paeans, dithyrambs ; 
the great men, their encomia and epinicia ; the votaries of pleas- 
ure, their erotica and symposiaca; the mourner, his threnodia 


x HISTORICAL INTRODUCTION 


and elegies. The vine-dresser had his epilenia; the herdsmen, 
their bucolica ; even the beggar his iresione and chelidonisma. 
The number of these varieties of Grecian song recorded under 
distinct titles, and most of them enjoying a certain benefit of 
scientific culture, amounts to upwards of fifty.” 

The progress of the art of singing from the more simple to 
the more complex forms was of course only gradual. There is 
a long period in which, as far as we can trace the history, the 
hexameter occupied the whole field of Greek literature. This 
was the only form of composition which the Greeks considered 
worthy of their ear, or upon which they cared to bestow their 
interest or study. But the same condition of popular feeling 
which had brought forth the Iliad and the Odyssey could not 
remain forever, and new conditions demanded new forms of 
poetry. 

The precocious Ionians with their enterprise and ambition, 
their wealth and luxury, idealizing the past in the charming 
pictures of the Homeric poems, and painting the present and 
future in similar imaginative if not always cheerful coloring, — 
the Ionians, refusing to realize the burdens of human experi- 
ence, were not the exponents of all of Greek life. The toil of 
getting a living pressed more heavily upon the peasants of the 
mainland of Greece than on the colonists of Asia Minor. If 
the latter had hardships, they had also excitement and large 
promises of future success, while Greece itself could offer little | 
except monotonous calls to labor and somber views of the lot 
of man. But they were all Greeks and all must have their 
poetry. Greek song must get nearer to reality before it could 
accomplish all its mission. So after the Homeridae the Hesiodae 
appeared. | 

It is said that the father of Hesiod emigrated from Aeolis, 
in Asia Minor, to the little village of Ascra, under the after- 
noon shadow of Mt. Helicon, where the poet was born. We 
might almost find an allegory in the story, to represent the 


HISTORICAL INTRODUCTION xi 


literary life of the people. Homer had sung of national topics, 
but, after all, the scenery, the locality, the life, were all foreign. 
With Hesiod the people forsook their wars in Asia and their 
wanderings round the earth, and came back to the fresh 
hills of Greece to be at home. The “ Works and Days,” the 
most characteristic of the writings of this school, a volume of 
frugal maxims for country life, was of inestimable value for 
its encouragement to the simpler virtues, and remains to us 
now to mark the progress which the Greeks were making in 
their home hfe. 

When Poetry came from the courts and feasts of Asia Minor 
- tothe farms and huts of Boeotia and Phocis the change was of 
vast significance. A mission work was inaugurated, intro- 
ducing a movement of surpassing importance in the history 
of the Greeks. In Homer the chiefs were all, the commons 
were nothing. Homer without his heroes would be absolutely 
without occupation, —there would be no one for whom to 
write. Hesiod, on the contrary, writes for the multitude. 
We have here the delightful evidence that that marvelous 
progress of the race which lifted the common people up to the 
cultured democracy of Athens had already begun. The very 
contrasts between Homer and Hesiod strikingly illustrate how 
truly national, universal to all classes, was the artistic talent 
of the Greeks. 

From about the beginning of the seventh century before 
Christ we can trace the development of new types of poetry 
expressive of a change in the thoughts which were seeking 
utterance. Self-consciousness was increasing, and the people 
wished to bring into their poetry their feeling as to the present 
as well as their conception of the past. Nearest to the tradi- 
tional form was the elegiac verse, which is indeed but a simple 
modification of the hexameter by varying the alternate lines so 
as to give a more sententious and pointed expression. It was 
apparently in its origin emotional and mournful, but it became 


Xil HISTORICAL INTRODUCTION 


an instrument of especial practical usefulness as society was 
trying to organize itself on new lines and prepare itself for new 
progress. As the people had found delight in using the hex- 
- ameter to recount the glories of the days of old, they naturally 
employed this variation from the popular verse for their 
exchange of thought as they struggled with problems which 
were new and strange. It reminded of duty and stirred to 
valor; and as poetry had devoted itself to celebrating the heroes 
who had filled the pictures of the past, so now it turned to 
creating the practical citizens who were the controlling figures 
of the present. Callinus pleads with the recreant people of 
Ephesus; Tyrtaeus rouses the enthusiasm of the warlike 
Spartans; Solon exhorts the Athenians to be both valorous 
and law-abiding; and for them all the elegiac distich was the 
appropriate form. The shortness of its sentences, the unvaried 
limitation of the stanzas, was like a continual reminder to the 
poet to be brief and sententious and vigorous, and his thoughts 
were naturally compressed and intensified until they became 
peculiarly stirring and effective. 

But this very sententiousness of the elegiac verse adapted 
it even more peculiarly for another purpose. It is a most 
natural progress for*every one who exhorts or teaches, to 
express himself more and more in the language of maxims, 
especially as there is an innate fondness among all men 
for this form of instruction. This tendency of the verse to 
become a vehicle of didactic thought shows itself in a great 
variety of ways: Solon is inclined to moralize, while Theognis 
bases his whole fame on a collection of sage remarks for the 
guidance of human conduct. A large part of the epigrams 
partake of this character, and this was the favorite verse in 
which to compose them. This fondness for the statement of 
truths in maxims (gnomes) has given to Solon and Theognis, 
together with Phocylides and Simonides of Ceos, the title of 
gnomic poets. Mimnermus, on the other hand, moralizes in a 


HISTORICAL INTRODUCTION Xlil 


more continuous, meditative style, reflecting with sadness upon 
the frailties of human life. Here in the mournfulness of the 
song is the commencement of the modern idea of the elegy, 
or, as the feeling seeks relief in such pleasures as are within 
reach of human striving, there is a natural transition to the 
love-songs and sentimental poems which in later times were 
written in this form. This last tendency of the elegy is espe- 
cially well illustrated in the Latin writers of the Augustan 
- period. 

This same movement of the Greek mind toward self-con- 
scious thought brought forth iambic verse, though this had 
no literary parentage, springing rather from the loins of 
vigorous popular speech, molded by the instinctive fondness 
of the Greeks for poetic form. lambic verse occupied at first 
very much the same province as the elegiac; but the two were. 
gradually, under the Greek love of order, set apart each for its 
peculiar sphere. The iambic tended naturally to the expression 
of popular sentiment largely tinctured with severity and bitter- 
ness. The branches of song which we have noticed have been 
ideal in their representations, didactic in their aim. They give 
us pictures of imagination, dreams, aspirations, hopes; there 
are no representations of men of every-day-life, as they actually 
are. The pictures are paintings, not photographs. The poet 
is largely a preacher; he writes, not what men are, but what 
they ought to be. In the same period in which Callinus began 
to write elegies, Archilochus entered upon this new method of 
song, using iambic poetry to represent life as his indignant 
spirit saw it, and giving to the form of verse which he used 
the quality which always distinguished it as uttering the criti- 
cism of life from the standpoint of the prosaic realist. Unfor- 
tunate in his origin (being born of a slave woman), unhappy in 
his disposition, bitterly disappointed in his life, he suffered 
with cruel keenness, and it was a suffering which it was not 
his nature to repress. - His feelings burst forth to blaze like a 


<€ 


X1V | HISTORICAL INTRODUCTION 


fire which finds the air. All his grief and anger and hatred he 
brings into his verses, to poison the shafts of vengeance which 
he thus showers upon his enemies. His verses are full of spite- 
ful passion, but we are made conscious that it is just such pas- 
sion as the world brings forth; it is no fancy picture with > 
artificial varnishing and coloring which he presents; its vivid, 
outspoken reality chills one at the sight. It is because he is a 
good hater that he is especially appropriate to his age. Just 
what he was, and frail men about him were, that was what he 
put into his poems. He proved his originality and greatness 
in being as frank in condemnation of himself as of any one. 
It was natural that for his purpose he should adopt and regu- 
late by rule the conversational iambi, and so prepare the vehicle 
for the dramatic authors of after days. | 

The work of Archilochus marks a most important era in the 
history of Greek thought. He rouses a complete rebellion 
against the traditional past. The old times had been full of 
the conception of the divine right of kings and nobles; he 
proved that even to the despised commoner there was open an 
appeal to a public sentiment which could touch and humble 
the proudest prince. He questioned and criticised everywhere 
with extreme boldness, and thus pricked the bubbles which 
had long been floating before the popular eyes, and made 
men look at things as they really are. The old sentiment 
had branded one who fled in battle as a coward, baser than the 
basest in society; Archilochus sings with the utmost noncha- 
lance of the loss of his armor, “Let the shield go, I’ll find 
another just as good.” The conservative military Spartans 
would not suffer such a poisoner of morals to come into their 
city; but the Greek nation, as a whole; honored him as one who 
helped to enlarge their thought. 

The ancients could never express sufficient admiration for 
the force and originality of Archilochus. He is placed side 
by side with Homer as preéminent in his art,—almost the 


HISTORICAL INTRODUCTION XV 


inventor of a new art. It was the tradition that, before he 
was born, the promise was made to his parents that they 
should have an immortal son, while over the man who slew him 
Apollo through his oracle uttered the sentence : “ Go forth from 
the temple; you slew the servant of the Muses.” Through all 
antiquity his reputation for power never waned. 

The poetry which we have thus far considered is simple in 
its form. When, on the other hand, we come to notice that 
_ which is more distinctly lyric, we find an almost endless variety 
of versification. How could it be otherwise? Lyric poetry is 
made up of songs aid hymns, and these must seek variety as 
the human mind changes in its feelings. The Greek mind 
could not fail to manifest its versatility in a multitude of 
forms. These poems may be divided into two great classes. 
The Aeolians of the island of Lesbos became leaders in the - 
first great movement for the cultivation of Greek song, and 
naturally made their singing a part of their joyous life. 
They gave expression to their individual feeling with a 
fervor and abandon which made their songs models for all 
future time. On the other hand, to the Dorians it was natural 
to move together in conservative obedience to that which tradi- 
tion approved. .They were the Puritans of the ancient Greeks 
in the prominence which they gave to the institutions of religion 
and worship. They cultivated religious hymns, and trained. 
their choruses to sing them with most effective power. They 
placed their impress so thoroughly upon this style of poetry 
that even in the Attic tragedy the choruses in their solemn 
movement retain forms of the Doric dialect. And so like two 
sisters, one gay and careless, the other thoughtful and grave, 
these two great branches of the Greek family brought forth 
each its peculiar style of music and poetry, and handed down 
its influence to the ages which were to follow. | 

It was through the talent, or genius, or inspiration, or recep- 
tivity of the Lesbian Aeolians, that this new musical impulse 


Xvl HISTORICAL INTRODUCTION 


was first communicated to the Greeks. Lesbos was, from its 
position, peculiarly adapted to furnish a point of connection for 
the traditional principles of the Pierian bards and the more 
artificial methods of Asiatic composers. The wildness and 
fancifulness of the Phrygians and Lydians were caught by 
the quick ear of the Greeks, but were taken by them only to 
be reformed and reconstructed, remodulated to satisfy the 
Greek taste. So the new art was from abroad, and yet it was 
their own. The commencement of this new Greek music is 
with Terpander. He took the ancient tetrachord whose un- 
varied notes had furnished the only accompaniment, or rather 
prelude, for the recitation of the ancient poems, and added 
three strings, giving it the compass of an octave, though with 
one omitted note. The peculiar benefit of his improvements is 
to be found in their fertility. He opened a field which his 
quick-witted countrymen hastened to cultivate with an ardor 
which gathered riches to be transmitted even to us. 

Terpander carried his art from his native Antissa, in Lesbos, 
to Sparta, and founded the first of the Spartan schools of music. 
He was followed in his adopted city, within the same genera- 
tion, by two other masters, Thaletas of Crete, and Aleman, a 
Lydian, apparently from Sardis. It was a central article of 
the inborn faith of the Greeks, that the proper balance of 
character could be obtained only through the refining yet 
uplifting influence of art. So these three poets, like Tyrtaeus, 
who belonged to the same age, were brought to Sparta to do 
for society a work without which-Spartan discipline and Dorian 
valor were recognized as helpless. The development of this 
art was made as earnest work as the carrying out of the so- 
called constitution of Lycurgus; music stayed the plague, 
propitiated the gods, healed the popular disorders, inspired 
the halting mind, was a necessary part of healthy life. Thus 
it was that the solemn Greek choruses received their character 
of impressive grandeur. 


HISTORICAL INTRODUCTION XVil 


This poetry contains other suggestions of peculiar interest 
to the students of history. Aleman is no disciple of the school 
of Lycurgus. The laws and institutions of strict discipline 
which characterized the Sparta of later times were not supreme 
in the days when Lacedaemon had poets receiving her deference 
and shaping her life. Spartans were in those early times appar- 
ently much like other mortals, that is Greek mortals, until the 
intense struggles for supremacy in Peloponnesus (of which the 
Messenian wars were a prominent part) drove them into that 
system of militarism which we have been wont to consider 
inherent in their nature. 

It is almost impossible for us to comprehend what an element 
this choral song became in the life of these ancient Dorians. It 
is, moreover, difficult to say which was reckoned by the popular 
mind more worthy of admiration, the dignified flow of the 
poet’s thoughts and words, the modulated cadence of the har- 
monizing voices, or the stately tread of the worshiping chorus 
as it danced about the altar of Apollo. Dancing, because it 
helped to train the body while it also exhibited its vigor and 
gracefulness, was held in high estimation among this people of 
muscular religion, and especial honor was given to Thaletas 
for the instruction which he gave in this manly art. Aleman 
helped to bring in a greater variety of form, even developing 
the idea of the strophe and antistrophe, to be written in the 
same meter, and to be sung with corresponding movements of 
the chorus, followed by the epode which was to be sung with 
a new arrangement of music. Further advances were made by 
Stesichorus of Himera, in Sicily, whose influence was of great 
importance in rendering more elaborate and stately the struc- 
ture of Greek choral songs. Stesichorus was a Dorian not 
merely by birth but in his principles. His songs were full of 
dignity and grandeur, and all his influence worked in harmony 
with Dorian manners, although he belonged to the same age as 
Alcaeus and Sappho. 


XVill ~ HISTORICAL INTRODUCTION 


The island of Lesbos, which gave birth to Terpander and 
sent him to be a leader for the Spartan choruses, was itself to 
become the center of a school of even more striking brilliancy 
and glory. So preéminent was its influence upon the musical 
schools of Greece that I will again call attention to the 
characteristics of its inhabitants. Almost at the eastern fron- 
tier of the Greek-speaking people, it was the first to catch the 
suggestions and inspiration to be gained from the older, and 
in some respects more advanced, civilization of the East; it 
seized the new ideas, and improved upon them with a readi- 
ness and progressiveness which were peculiarly Greek. The 
island was not deficient in fertility, but the population was 
naturally impelled to maritime pursuits, and the result of 
this was a large development of mercantile enterprise. It is 
only by scattered hints that we are informed of the extent 
of this tendency, but we gain sufficient information to know 
that Lesbian energy reached out after wide conquests. The 
brother of Alcaeus appears among the courtiers of the king 
of Babylon; the brother of Sappho seeks his fortune among ~ 
the Egyptians, and receives the reproaches of his sister for 
bringing home from there a noted courtesan. The men of 
Lesbos were not afraid of distant journeyings, and were coming 
in contact with people in remote quarters of the globe. 

These Aeolians were thus quick-witted, commercial, wealthy, 
even luxurious in their tastes, developing also with great ra- 
pidity those versatile qualities of character which would come 
from contact with the world. They would become intensely 
fresh and individual in their sentiments, impatient of each 
other, eager for something new, —full of large plans, only a 
small portion of which could by any possibility be carried out. 
The character of Greek citizens was such, especially in the 
seaboard towns, that each state was almost sure to come to a 
point where its circumscribed limits could scarcely contain the 
convulsions which were engendered. There was everywhere 


HISTORICAL INTRODUCTION X1x 


too much bursting activity for the fields which were open. 
Thus it was that Mytilene was torn with civil dissensions in 
connection with new questions of progress and old questions 
of family and rank, which were always so rife in early Greek 
society, until the people, in despair, placed the supreme power 
in the hands of Pittacus, that a strong government might give 
them peace. 

There is, however, another point of great consequence in 
the character of the people of Lesbos. The religious ele- 
ment was not preéminent in their constitution. Choral songs 
would have been too serious to express their most ardent feel- 
ing. They were a luxurious, pleasure-seeking people; they 
loved their festivals and banqueting-halls far better than their 
temples. They could have dispensed with the gods better than 
with their feasts. And so their poetry was the reflection of 
their character, calling forth its highest powers, not for wor- 
ship, but to celebrate the delights of the sensuous life. The 
intensity of personal feeling would thus furnish the motive 
force in this school of Greek poetry. The Dorian hymn was 
the emotion of the whole people, breathing through the swell- 
ing cadences of the poet; the Aeolian song was but the feeling 
of the individual, interpreting his own thought to ask the sym- 
pathy of the listeners. The Dorians were grandly communis- 
tic; the Aeolians were strikingly individual. Alcaeus was a 
politician, a partisan, in intention a patriot; and he used his 
poetry to make others feel his feeling. In this respect his art 
would trace its lineage back to Archilochus and his fierce 
iambics, while in the increased variety in thought and form we 
see the evidence of growth in culture and of the development 
of the art of music on which the poetry leaned. 

The Lesbian poetry adopted a form which was suited to its 
aim. It was composed generally in simple measures, with the 
verses arranged in stanzas of moderate length, so as to lend 
.a pleasing variety, and (since the poems were rendered as 


x HISTORICAL INTRODUCTION 


solos, commonly in connection with the feasts) to furnish a 
convenient resting-place for the singer’s voice. The form and 
the spirit is admirably illustrated in the Odes of Horace, 
which were largely imitations of these Greek songs. 

Of the two great composers of Mytilene, Sappho is by far the 
better representative of the art. With an intensity which 
makes one almost shrink back from her burning words, she 
furnishes thoughts as exquisite and graceful as pictures 
formed by the fancy in the wreathing flames of the evening 
fire. She is intensely personal; her imagination is all her 
own; her songs are all of herself; and yet, with the instinct 
of a true poet, she never deserts the listener, — you are carried 
with her. She has apparently the perfect openness of a true 
lyric poet, and yet she is Greek, and with Greek skill she 
weaves her thoughts into a wonderful web-work of words and 
pictures and figures of speech, so that, while appearing to tell 
everything, she perhaps tells little or nothing. She seems to 
confess all her inward feeling, — to be as open, in her exposure 
of herself and those about her, as ever Archilochus could have 
been; and yet, with all her apparent frankness, the world of 
scholars has never been able to settle the question whether she 
was pure enough to be an adornment in any home, or corrupt 
enough to disgrace any society. If we ask how this can be, 
we answer, It is her art — her poet’s art and her woman’s art, 
the perfection of art — which hides the line between fiction 
and reality, and conceals deformity even from the keenest eye. 
It would be of interest to me to know the character of Sappho; 
but it is even more interesting that no one can make her tell 
more than she has intended to. 

Sappho presents to us the best picture of the dominant 
characteristics of the Aeolian school, because she shows such 
power in the delineation of sensuous feeling. In the whole 
history of the world, no other author has represented so 
vividly the sensations of human nature. She was a wonderful 


HISTORICAL INTRODUCTION XxXl1 


outgrowth of a peculiar society. The Aeolans lived in the feel- 
ings and enjoyments of the day. Sappho was the Aeolian of 
the Aeolians; in her their feelings were magnified and inten- 
sified. Yet all her writing is with consummate art. In the 
utmost frenzy of her sensation, she does not shock your taste, 
she hardly violates your sense of propriety. You read feeling 
that there are two marvels: first, that she could venture to 
say so much; second, that in those times, with her surround- 
ings, she could say it all with so little offense to the most 
exacting taste. 

The Aeolians made the poetic art simply tributary to their 
physical and social enjoyment. Songs were to help their pleas- 
ures, and add to the enthusiasm of their feasts. The tendency 
which had been nourished and fostered by these bards of the 
island of Lesbos was of far-reaching influence among the 
Greeks, especially of the maritime towns. The islands of 
the Aegean had grown old in experience of luxury, and often 
of vice, while Sparta and Arcadia and almost all the mainland 
were still wrapped in the innocence of their natural simplicity. 
The product of a longer growth of this spreading plant of 
Greek luxury is presented to us in the Ionian Anacreon. He 
was born at Teos, on the coast of Asia Minor, but his life 
really belongs to the two courts of Samos and Athens, where 
he was a favorite of the wealthy and luxurious tyrants Polycra- 
tes and Hipparchus. He was devoted to pleasure, not with 
a peculiar, superhuman sensitiveness, like Sappho, but with a 
common love for all physical gratification, such as shows itself 
everywhere in human nature if it is encouraged to come to 
light. Anacreon represents to us the degeneracy of Greek 
life. He furnished the models for drinking-songs for all suc- 
ceeding ages. He lavished his artistic praises upon the joys of 
dissipation with a fervor which will insure him the sympathy 
of drunkards and debauchees to the end of time. There is, in 
fact, a sort of sincerity and earnestness in his dissipation, 


XX HISTORICAL INTRODUCTION 


which few modern imitators would be able to preserve. 
Through all his verses there is an air of elegance which you 
cannot but admire, yet you feel it is only his birthright as a 
Greek and an artist which restrains him from becoming in- 
sufferably coarse. It is a striking testimony as to the estimate 
which was placed upon him, with reference to both his talent 
and his character, that long afterward so many songs, like the 
Anacreontea which we publish, imitated his style and tone and 
were attributed to his genius. 

Anacreon was an Ionian, but we are not to conclude that 
he represented the only tendency of that branch of the Greek 
race. The lonians were a people of strange versatility of char- 
acter, always reaching out for new fields in which to exhibit 
their enterprise, pushing their conquests with persistent energy 
and taking the enjoyment of the fruit of their labors with a zest - 
which made them rivals in luxury of the Aeolians, with an adapt- — 
ability and careless grace which were all theirown. Their poetry 
is the exponent of their character. Anacreon has become the 
coryphaeus of the pleasure-seekers of all ages, and though his 
reputation in modern times has depended perhaps quite as much 
on the poems which he did not write as on his own composi- 
tions, still the works which are associated with his name bear 
testimony to the reputation which he had gained. At the same 
court of Hipparchus to which Anacreon was a brilliant orna- 
ment the Ionians presented in Simonides of Ceos a man sug- 
gesting Doria seriousness and power, with a gracefulness and 
elegance joined with facility of conduct and expression which 
bespoke his Ionic surroundings. He loved the. grand form of 
the Dorian chorus and excelled especially in the composition of 
the dithyramb, or Dionysiac chorus, and of epinician odes and 
encomia. His elegies were also noted for their beauty, and as a 
composer of epigrams (and the epigram was child of the elegy) 
he was most widely celebrated. His short but grandly expres-. 
sive verses in honor of heroic men are likely to be remembered 


HISTORICAL INTRODUCTION °° xxiii 


as long as the Greek language remains. Among his friends 
were the prominent citizens of both Sparta and Athens, and his 
sentiments were loved and admired in both these cities. 

The poetical activity of the Greeks must have grown at this 
time to be enormous. Not merely was it true that in the 
chief cities there were poetical contests, calling out numerous 
competitors, but every town had its composers, its choruses, 
and leaders, — every village had its own musicians. Certain 
families kept alive the poetic art, handing it down from father 
-to son, gaining renown not only for themselves but for the 
community to which they belonged. The impulse was univer- 
sal. The various divisions of the Greek race vied with each 
other in the pursuit of this beautiful art, each bringing its 
peculiar characteristics into its prosecution of the work. The 
different varieties of hymn and song had grown up with well- 
marked distinctions. The paean, in honor of Apollo, was as 
old as the Homeric poems, but had been cultivated with pecu- 
lar ardor wherever the Dorian race was found. The dithy- 
ramb, in praise of Dionysus, was known before the age of 
Archilochus, had received new attention from the genius of 
Arion, and was rapidly advancing to that perfection of devel- 
opment where it was to give birth to the Athenian tragedy. 
Parthenia, or processional hymns of the Dorian maidens, had 
been popular since the days of Aleman; hyporchems, dancing- 
songs, always accompanied by mimetic performances, had a 
history from the time of Thaletas; the threnoi, or songs of 
mourning, traced their pedigree up to the bard Olympus; the 
erotica and symposiaca had been beloved by all the Aeolians, 
and the former could, perhaps, trace a well-authenticated rela- 
tionship with the pensive elegies of Mimnermus and his school. 
‘Scolia, songs of individual banqueters succeeding each other 
about the table, had been long cultivated with peculiar beauty ; 
while the ringing melody of the comus was soon to develop 
into the epinician odes of Pindar. These and a multitude of 


RAY {3 HISTORICAL INTRODUCTION 


other forms, sacred and profane, prove to us that all Greece 
was full of poetry. The brillant lines which are to us so 
precious are but sparkling spray-drops from what was then a 
full river of song. 

Then it was that Pindar appeared; with these surroundings 
he cultivated the poet’s art; upon these foundations he built 
his power. With Pindar we reach the culmination of Greek 
lyric poetry. He loved especially the highly-developed form 
of the Dorian choruses, but he learned from all the schools, 
and improved upon them with an originality all his own. And 
so almost five hundred years before the Christian era lyrie 
poetry in Greece had gained its highest perfection; we might 
almost say, the utmost of which it was capable. The later 
development was in new fields, with new methods. We have 
referred to the diversity of Greek poetry, its magnificent range, 
its contrasts and variety. Now we notice the time over which 
its growth extended, the centuries which were filled up with 
continual development, and we are amazed anew at the intel- 
lectual vigor of the favored Hellenic race. We can mark off © 
periods, not merely by years or decades, but by centuries and 
multiplied centuries, in which the Greeks were not only 
supreme in the literary world but were sending forth produc- 
tions which were to be masterpieces for all the ages yet to 
come. We have, assuredly, reason enough for admiration for 
Greek literature when we think with how much mind we come 
in contact when we open this storehouse of thought. And 
nowhere are the Greeks better interpreted and understood than 
in the poetry which is the natural breathing forth of their own 
active and artistic thought. 


EKLEGIAC POETS 


CALLINUS 


Callinus, who has the credit of being the earliest composer 
of elegiac poetry from whom we have any remains, was an 
Ephesian, and employed his poetry to arouse the spirit of his 
fellow-citizens in the wars in which they were engaged. He 
represents an age of conflict. Asia Minor was afflicted for a 
long period by inroads of the Cimmerians, a wild and barba- 
rous people supposed to issue from the regions north of the 
Euxine sea (cf. Herod. i. 6,15; iv. 11-13). The Greeks, more- 
over, were not harmonious among themselves. There was war 
‘between Ephesus and Magnesia on the Maeander, and there is 
even a suspicion that the Ephesians called in the help of the 
barbarians against the Greeks. At all events the seventh cen- 
tury B.c. was a period of great disorder in Asia Minor, and 
Magnesia was destroyed by tribes which were associated with 
these Cimmerians. Callinus belongs to the early part of the 
century and is a prominent actor in these struggles, though we 
have nothing to tell us what particular crisis gave rise to the 
appeal which has been preserved to us. We have another frag- 
ment consisting of a line and a half in which the poet beseeches 
Zeus to pity his countrymen. The ancients had apparently a 
considerable body of poetry belonging to him, but, apart from 
this selection, we have only a few brief fragments. 

These writers of elegiac poetry, as also the composers of 
iambics who follow, were products of the rich development 


of Ionian civilization and use the Ionic dialect of their times, 
1 


2 ELEGIAC POETS 


though their language shows plainly in form and phraseology 
their familiarity with the epic, by which they were consider- 
ably affected. , . 

The Elegiac Distich, the form used by the elegiac poets, is’ 
composed of a heroic hexameter followed by a so-called pen- 
tameter. This latter is made up of two dactylic tripodies, of 
which the third foot is syncopated or catalectic; a single syl- 
lable, that is, filling the time of a foot. The complete feet of 
the second tripody are always dactyls. So the scheme of the 
alternate lines would be 4wW 4Wi4 4uvy LuV LAK. 
G. 1670; HA. 1101. 


Méypus Ted katakerobe; KOT adkynov e€ere Oupor, 
Ss ? b | > > A 7 
@ véot; ovd aldetoO’ audurepixtiovas, 
® , , 3 b / \ A 
ade hinv peOevres, ev eipyvy dé Soxetre 
a gen , A Y » 
noOa, aTap TOAELOS yatay aTacay evel. 
* * * * * * 
a b] 4 y + ae Ld 
5 Kal Tis aTOOvHGKwY VOTAT AKOVTLOATYH. 
ns Sons ae) ‘ > \ , 
TYNE TE ydp €oTL kal ayadv avdpi payerOau 
ys Tépt Kal Taldwy KoupLoins T addyxou 
, , \ ,>Yy e / la 
dvopeveow: Odvaros d€ TOT eooeTat, OmmoTE KEV ON 
Motpa émuxd\dowo , adda Tis Ods ito 
+ > /, eS RB , + > 
10 €yyos avacyopevos Kal UT aoTiOos AAKLOoY HTOP 
ehoas, TO TPOTOV puyVvUpEevou TOAELOV. 
ov yap Kas Oavarev ye puyety elwappevov eotiy 
A > 9Q> 9 , 3 , bd , 
avdp, ovd' el Tpoydverv H yévos aavarwr. 
ld ee A \ \ la) aE of 
Tmohddk Sniornra duyov Kai Sovmov aKovTwv 
¥ 1:33 5 » aA , 0 if 
15 EpxeTat,' Ev O olK@ potpa Kiyey Favarov: 
GNX’ 6 pev ovKk eutras SHuw didos ovde ToPeavos, 
\ 5° 3)? , \ , BT 4 iO , 
Tov O OALyos OTEVayeEL Kal pEyas, HV TL TAUH 


1B. epyerat. 


TYRTAEUS 2:9 


ha@ yap cvprrav7e TOH0s Kpatepdppovos avdpds 
OvnoKovtos: Cawv & akvos nuléwv 
20 womTEep yap piv TUpyov ev dPVahpotow Spwcty : 
4 \ LA x. A 37 
 Eepoet yap ToAN@y a&ia pwovdvos édv. 


TYRTAEUS 


Ancient tradition said that when the Spartans were hard 
pressed in the second Messenian war they were commanded 
by the oracle to seek a leader from Athens, and that Tyrtaeus 
came from Attica in obedience to their call. The story was 
embellished until it described him as a lame schoolmaster 
whom the Athenians sent in order to give formal obedience 
to the request without furnishing any substantial aid. He 
proved, however, so inspiring by his gift of song that he led 
the Spartans to a speedy triumph. These accounts are doubt- 
less inventions, and suggest that we have little which is relia- 
ble history with regard to Tyrtaeus. That he may have been 
called from abroad, and that too under the suggestion of the 
Delphic oracle, does not seem improbable from what we know 
of Spartan custom. His Ionic dialect might be taken to sug- 
gest that he came from Asia Minor, and there was a tradi- 
tion in ancient times that he originated in Miletus, the city 
which was the center of Greek culture in his age. The tone of 
his poetry, however, assures us that whatever may have been 
his origin he had become closely identified with the Spartans, 
and the general character of the poems attributed to him sug- 
gests that he had a much broader influence than merely to 
stir the people to martial ardor. We may be confident that 
he was in Sparta not as a temporary visitor but as entirely 
devoted to his adopted home, and allowed even by the con- 
servative Spartans to speak as one of their own number. The 
influence of his poems was so highly estimated that it was 


4 


ELEGIAC POETS 


customary to sing them at table and in camp, especially before 
battle. 


The date of Tyrtaeus is the latter part of the seventh cen- 
tury B.c. His dialect in the éuBarjpua, march-songs, or songs of 
attack, uses Doric forms, but his elegiacs are Ionic. For the 
meter of the éuBarypiov, which is anapaestic, see G. 1676. 3; 


HA. 1104. e. 


10 


TITIOOHKAT 
I (10)2 


TeOvapeva yap Kahov emt mpouayourt Tec ovTa 
avodp ayalov mept 7 maTpiou wapydpevov. 
\ > > a“ r 4 ? aN \ , 3 4 
THY O avTov TpodiTOVTa TOALY Kal Tiovas aypovs 
TTWXEVELY TAVTWY ETT AVLNPOTATOD, 
V4 ‘ \ , \ \ V4 
Tralopmevov avy pytpt Pty Kal maTpt yépovTe 
Taloi TE OVY pLLKPOLS KOUPLOn T ahoyy. 
€xOpdos péev yap Toot peTeooeTaL, OVS KEV LKYTAL 
XPNTMocUVY T ELKwV Kal OTVYEPH TEVin, 
b 4 l4 ‘ 2-9 \ 5S 3 ig ; 
aioyuver TE yevos, KaTa O aydadv Eidos Ehéyyet, 
TACa © ATLYLIA KAL KAKOTNS ETETAL. 
> 3 Y =) 4 3 , > 4> » 
et 6 ovTws avdpds Tor dwpevou ovdeni’ wpy 
, ¥ > X0N y¥ >» ¥ >» 
ylyveTat, OUT ald@s OUT OmLs OUT E)eEOs, 
Oup@ yns Tept THADE paxapucla Kat wept Taldwv 
Ouyokwpe wuyewv pynKere hevddopevor. 
x 2 4 > AN , > 3 , 4 
@ véot, dAda payerOe tap addAydovor pevorTes, 
\ A > la + \ 4 
pnoe huyns aioxypas apxere pndé ddBov, 
3 X , A Q > \ , 
ahha péeyav tovetobe kat adkipov ev dpect Ovpor, 
\ 9 9 , , 
pnde hirowvyetr advdpdou papvapevor: 


\ \ ld & b , , 229 4 
Tovs O€ TahaLoTepous, wy ovKerL yovvaTt eA\adpa, 


1 The figures in parentheses give the numbering of Bergk’s edition, 


TYRTAEUS 


20 py KaTadeirovtes pevyeTE, TOUS yepaLovs 
ais pov yap 51) ToUTO meTa TPOUaXoLoL TETOVTA 
keto0a tpdoabe véwy avdpa TahaLorepor, 
no Xr \ ~ “4 Xr / / 
non AevKOV EXOVTA KapY TOALOY TE yEVELOY, 
Oupov arromvelovT ahkupov €v Kovin, 
e , > b ) A , 3 \ y 
2 aiparoevT aidora Pidais ev YEpolw ExovTA — 
> \ B30 3 A \ N LO a 
aioypa Tay dp0ahpots Kat vewernrov Loety — 
Kal pda yupvoleTa: véowos Oe TavT Eer€ouKer, 
» 9 9 A 9 . \ ¥ ¥ 
obp é€parns nBys aydaov avOos ex: 
3 5 , \ \ iO We ene \ de 4 
_ avdpaor pev Onnros idety, Epards dé yuvartiv, 
XN sf \ > ae 4 , 
30  Lwos éwv, Kadds 5’ év Tpopayouot TET OD. 
> , D \ , any oa , 
adda Tis ev OvaBas peveTw Tool audoréporow 
\ ee ~ “~ > ~ a 
ornptyGeis emt ys, xeldos dd0v01 dakar. 


II (11) 


"ANN “Hpakdyos yap avixnrov yevos €oTe, 
Japoeir, ovrm Leds adyéva ho€ov eye’ 
> ] aw La 
pnd avdpaov mryOdv Sepaivere, unde poBeiobe, 
> \ > > ld b] 4D \ 3 , 
ids 5 eis mpopayous aomid avnp €x€éTa, 
5 €xOpav pev Woynv Oeuevos, Oavarov € pedaivas 
KNpas OMas avyats nediovo didas. 
ee en , ¥ > oF 
iote yap Apnos todvdakpvou epy aidnha.: 
> O29 aN 27 399 , , 
ed 0 dpynv eddnTt apyadéov mod€euou, 
kat Japa hevydvtwv te SuwkdvTwr Te yéeyevo Oe, 
, > , > .9 , > , 
10 @ véor, audotépwr 8 eis Kdpov Haare. 
a \ \ A > Dee / , 
OL pev yap ToAL@ot Tap adAANAOLOL PWEVOVTES 
ES T AUVTOTKEOiNV Kal TpPoUayous Léval, 
mavpotepor OyyoKovat, Taovet € Kady 6TridTw’ 
4 ee. ~ aA 2-3 4 rR 4 
Tpecoavtwy 8 avdpov Tac amdd\wN’ apery. 


15 


20 


25 


30 


ELEGIAC POETS 


b) \ + a , ee 4 Y 
ovdels av Tote TaUTa héywr aviceev EKacTa, 
Y > >) > \ 4 , > \ , 
ooo, HV alaypa TaOn, yiyvera avdpl Kaka. 
e / ‘\ id 4 3 \ fh 
pryadéov yap omobe peradpevoy eo datlew 
avopos pevyovtos Siw év tohguo- 
P Y i! 8A: 
3 \ 
atoxpos 0 €ort véxus KaKkeiwevos ev Kovinow 
lal + > > “~ ‘\ > 4 
vatov omic atyun Sovpos eAnAapévos. 

3 , = N , ‘ > , 
adda Tis eb OiaBas pevérw Tool audoréporow 
aTyptyGeis ert yns, yethos dd0d001 Sakwr, 

pnpovs TE KYHMAS TE KATw Kal OTépva Kal @mous 
> , > ee \ , 
aomidos evpeins yaoTpt Kaduibdpevos: 
deEirepy O ev xeLpt TWacaeTw Bpimov eyxos, 
kweitw 0€ Nogov Sedov vrep Kedhadys: 
epoe 0 oBpisa epya didacKécOw roremilwvr,' 
> > X\ , e l4 > O ¥ 
pend extos Bedewv EoTaTw amid Eywr. 
aN Tis EyyUs Lov avTooyEdor eyyEl LaKpa@ 
cha a X YXEt PAKPS 
, oe ¥ > 
n Eiper ovtalwy SnHiov avdp’ édéra: 


\ 4 >" \ \ Gon. ee Soe , 5) 4D 9 , 
KQU TO00a TAP TOOL Geis KQL €77F AOTLOOS ao7mTlo Epeloas, 


ev d€ Mddov Te hdd@ Kal Kuvenv Kuven 
Kal oTépvov otépy@ Tet ynpevos avdpi payer ba, 
«7 , x / \ 4 ee 
n Eiheos Kany H Sdpv pakpov édov. 
vpets 0, @ yuprntes, UT domidos adAoMev addos 
, , , , 
MTOTTOVTES peyahors BaddeTE YEeppadiots, 


, , A 5 4 3 5 , 
_Sovpact te eototow aKovtilovtes és avrovs, 


la) , 
Toot TavoTAOLoL TANT LOY LoTAPLEVOL. 


III (12) 


O07 dv prnoaipny ovr’ év oyw avdpa Tein 


» ww ~ ¥ 
OUTE TOO@Y ApETHS OVTE TakaLTpoavUrYNS, 
0 > + 4 \ y 4 A , , 
ovd et Kukiwrwv pev exou wéyeOds Te Binv Te, 
1B. rereulfwr. 


10 


15 


20 


30 


TYRTAEUS 7 


vixen d€ Béwy Opyixvov Bopény, 
30> 9 A \ , ¥ 
ovd et TiOwvoto dunv yapiéarepos ein, 
movtoin dé Midew kai Kiviipew padiov, 
ovd et Tavtadidew Hédorros Baowevrepos ein, 
la > > 5 “4 / yY 
yoooav 0 Adpnatou petyoyynpur Exot, 
ovd el Tacav exor Sd€av ANY Dovpidoos ads: 
> \ > N > \ , b] lA 
ov yap avnp ayabos yiyverar ev Todena, 
El un) TETAAIN pEeV Opav dovoy aipatdoevTa 
\ aA > “4 > dee , ¢ / 
Kal Oniwv dpéyor éyyvbev iotdpevos. 
NF. - 5 7 Qo. + 3 > 4 ¥ 
nO apeTy, TOO aeMdov ev avOpdémovow apiorov 
4 "¢ , 7 > \ 4 
Kkahdtworov Te hepew yiyverar avdpt véw. 
\ a. 3 \ las , oh 4 ra 
Evvov 8 éo Pov TovTo TOANE TE TarTi TE SHY, 
OoTLs avnp diaBas ev Tpopayxoror LEVY 
, > “~ \ ~ PN U4 , 
vohewews, atoypas dé huyns emt mayyv AaOnran, 
Wuynv Kat Ovupov TXHpova TwapOeuevos, 
Q 4 5 ¥ \ rad »¥ 5 , 
apovvn 0 emeow TOY TAnTiov avdpa TapEdTas : 
ovTOs avnp ayabds yiyverar év TOELw: 
aipa dé duopevéewr avdpav erpabe hadayyas 
TPNKXELAS, OTOVdH T Exe KYA Pays: 
a ee ee eee ge , \ , ¥ , 
6s 0 avr ev mpopdyouct Tec av hitov wrece Jupdv 
aot TE Kal haovs Kal waTép evKNeEioas, 
TOAAGA Ova aTEpvoto Kal aomidos 6udhadroéoons 
N 4 , , b - 
Kat dua Odpnkos tpocbev €dnapevos, 
X a > 4 by e ~ l4 b ] \ 4 
Tov 0 dropvpovTat pev 6UGs veou HOE yEeporTes, 
> l4 4 ~ l4 a 
apyahéw Te TOO Tada KEKNOE TOS * 
‘\ , \ A 5) 3 , + ea 
Kal TUMBos Kat Taides ev avO parrots apionpoL 
\ , A w , 3 , 
Kal Talowy Tatdes Kal yevos e€oTriaw. 
> > ] al 
ovd€ more KN€os EcOAOv airddAvTAL OVO’ Ovop’ avToU, 
> » BG ‘ “~ a5 - > , 
ad’ umd yns TEP Ewv yiyverar aBavaros, 


~ 


f 


8 ELEGIAC POETS 


OVTLY APLOTEVOVTA MEVOVTA TE LAPVAMLEVOV TE 
~ , \ ‘ i] a) 7 > / 
YNS TEpL Kal Talowy Youpos Apys odéeoy. 
35 el O€ HUYyN MEV KN heyéos Java 
yn bev KNpa Tavynreyéos Favaroo, 
, Bee A 9 \ > Y 
pikyoas 8 atypyns ayhaov edyos Edn, 
TAVTES [LW TLLWOLW O@s veou HOE TahaLol, 
Todd O€ TepTrVva Tabav epxerat eis “Aldnv: 
ynpadoKwv aoTOLOL meTaTpeTeEl, OVOE TLS AUTOV 
40  BdamTE ovT aidovs ouTeE dixyns Hehe, 
4 + ie a € “~ ld Y > > ‘4 
mavtes © é€v Oadkovov 6s veo ot TE KAT avTOV 
ELKOVT EK YHPNS Ol TE TAaAaLOTEpOL. 
TaUTNS VUV TLS aVNp apeTNs Els akpov ikeoOau 
ld A \ \ , 
TepacOw Ouua, un pmeOrets Trod€emov. 


EMBATHPION 
IV (15) 
"Ayer, @ XSmaptas evavdpou 
KOUPOL TATEPwY TOATAY, 
hava pev iruv mpoBadeabe, 
ddpu 0 evTdApws TadXorTes,' 
5 pn pevdopevor Tas Cwas: 
ov yap mdarpiov Ta Ladpra. 


1B, Badrere. 


MIMNERMUS 9 


MIMNERMUS 


Mimnermus is associated particularly with Smyrna, and was 
a native either of that city or of Colophon. The facts of his 
life are little known to us. His date is to a certain degree 
fixed by the fact that Solon addresses him as a contemporary. 
He belongs, we conclude, to the latter part of the seventh 
century B.c. It was a time when the Greek colonists of Asia 
Minor were reaping the fruit of their rapid advance in wealth 
and prosperity. There had been a notable loss of energy and 
public spirit, and the prevailing luxury was leading men to 
give preéminent thought to personal comfort. These influ- 
ences were weakening the Greek cities, and illustrating the 
fact that such emphasis upon the individual must inevitably 
give prominence to his disappointments and furnish soil for 
the seeds of pessimism to spring up and flourish. Mimnermus 
gives expression to this tendency. He employs the elegiac 
verse for plaintive, mournful compositions, though his mourn- - 
ing does not impress us as of the most serious character. He 
gained the credit thus of giving a new character to elegiac 
verse, while at the same time he brought it back nearer to 
what seems to have been its original tone of mournful feeling. 
A maiden named Nanno was immortalized by his elegies ad- 
dressed to her, or associated with her name. ; 


NANNQ 
I (1) 
Tis d€ Bios, ri 5é Tepmvdv arep xpvons “Adpodirys ; 
TeOvainv, OTE MOL WHKETL TAUTA pEAOL, 
KpuTTadin didrdrys Kal pethiya S@pa Kal evvy: 
ot nBys avOea yiyverar aptadéa 
5 avopdow nde yuvaréiv: émet S dduvnpov érédOn 


10 


10 


10 


15 


ELEGIAC POETS 


A Y > > \ e ~ \ ‘\ ¥ ‘a 
ynpas, OT aloxypov oua@s Kal Kady avdpa TOE, 
altel pu Ppevas appli Kakal Teipovor pméepipvat, 
ovd avyas Tpomopar TépteTat HEdiov, 
b) > 3 ‘\ A 4 wie \ > 4 
ahd’ €yOpos pev maiciv, atipacros dé yuvarkiv 
ovTws apyahéov ynpas One Oeds. 


II (2) 


‘ A > er , , , 9 
Hpets 0 ofa re HvUAXA ver ToAvavbéos wpH 
¥ ee, Ye ee Wea ¥ ) s 
Eapos, oT ap avyns av€erar HeXiov, 
A »*¥ 4 1 l4 + yY 
TOUS LKEAOL THXULOV ETL ypovoyv avOeow HBS 
TepTroue0a, pos Gewy eiddTEs OUTE KAKOV 
aes, Me 4 ”~ Qn V4 x 
ovr ayaldv: Kypes 6€ mapeotyKaor pédawar, 
n bev Exovoa TEOS yHpaos apyadéov, 
e » PE er ld v4 \ , yY 
7 © €répn Oavdroo: pivuvOa dé yiyverar nBys 
KapTos, O7oY T ETL ynv KidvaTat HELO * 
peers. 2X \ A“ 4 , y 
avTap env dn TOUTO TEAos TapapetpeTar wWpNS, 
925 F a , x , 
avtika TeAvapevar Bédtiov H Bioros: 

Na yap év Oup@ kaka yiyverar: addoTE oikKo 
TodXa yap €v Oup@ Kaka yiyverar OTE OiKOS 
nw , > ¥ 2 3 \ “4 

TpvxovuTat, mevins 8 epy dduvynpa 7ré)eu: 
addos 0 av Traidwy éemideveral, @vTE pahioTa 
e 4 \ ~ ¥ b ] > oh, 
ielpwv KaTa yns epxeTar eis “AlOnv 
ahXos vovoov ever OupodOdpov: ovdd Tis eat 
avOparav, @ Zevs py Kaka Toda d1O0t. 


III (5) 
- ar ais | ‘ A \ NA ¥ e lA 
Avrika pou kata péev ypoinv peer ao-meros tdpas, 
TTOL@Opat © Exopav avOos oundtKins 
\ Fs x. \ , b) \ , “4 > 
TEPTVOV OOS Kal Kaov, ETrEl TAEOV wdeXeV Eivat ° 
2) \2 9 , / y ee 
ahd odvyoxpoviov ylyveTat woTEP OVvap 


SOLON | ie! 


5 nBn Tynnecoa: TOO apyadéov Kat apopdov 
ynpas uTEep Kepadns avtix vTEpKpEemarat, 
3 N c a A= ov, Y > »¥ A na » 5 
€xOpov Ouas Kal atimov, 0 T ayvwotor Tet avopa, 
Brarre 3 6b0adpovs Kai voov audiyvlev. 
IV (12) 
> , \ x , y + , 
Héduos pev yap movov €hr\axev Nuata TavTa, 
ovdd ToT’ autravots yiyverat ovdemia. 

Y , \ > “~ > \ e , > , 
immourty TE Kal AUT@, €mrel POOOddKTUAOS Hodis 
"Axeavov mpodurove’ ovpavor ei Bn: 

avov mpodurova ovpavorv eioavaBn 
\ \ \ . \ ia : , 7, > V4 
5 TOV pev yap dia Kvpa pepe ToAVYpaTos evvT) 
Kouthyn, Hdaiorov yepotv é\ndapevn 
A y 
Xpvaov TYULHEVTOS, UTdTTEPOS, aKpov Eh VdwWP 
evdov0’ aptadéas yopou ad’ ‘Eomepidwv 
~ 3 b / Y \ \ Y XY. ¢ 
yatav €s AtOudrwr, iva d Jodv dpa Kat trou 
e la ih > -H x > , a 4 
10 eoTaa,opp Has npvyevea mody 
¥ » ia | , Cn 1S >] , c 7 e/ 
ev? eréBn ETEpwv dyewv ‘Trepiovos vids. 


SOLON 


Solon was an Athenian citizen of noble birth, tracing his 
lineage back to Codrus, the last king of Athens. His mother, 
according to a statement quoted by Plutarch, was cousin to the 
mother of Pisistratus. His naturally meditative mind was ren- 
dered more thoughtful by observation at home and extended 
travel abroad, so that he became known as one of the seven 
sages of Greece. 

His age was one of peculiar interest in the history of his 
fatherland: Born about 638 s.c., he grew up to find the state 
suffering from widely extended discontent, and in 594 he was 
elected archon with unlimited power to introduce the needed 
reforms, 


Pole ELEGIAC POETS 


He is a character of supreme interest in the ancient world. 
He succeeded in relieving the keenness of public distress. He ~ 
introduced reforms out of which were slowly developed the 
democratic institutions of Athens. By his prudence and mod- 
eration joined with firmness and vigor, all employed in a spirit 
of lofty patriotism, he gained for himself a personal esteem 
such as has been accorded to few men in the history of the 
world. What we have left of his poetry was preserved espe-— 
cially through interest in the author, and cannot fail to be 
always prized as the great lawgiver’s representation of himself 
and of his times. 

The little oratory and philosophy of that age was almost 
entirely poetic, and Solon in his work as a statesman made 
large use of this same instrumentality ; he addressed the peo- 
ple in poetry. Athens had for many years been troubled with 
an old dispute with the Megarians over the possession of the 
island of Salamis. Megara had gained the superiority in the 
contest, and the Athenians in despair had given up their under- 
taking and were unwilling to think of any attempt to reopen 
the conflict. Solon, however, was indignant at such a result, 
so that he finally came into the market-place and delivered a 
poetic address, bidding the people retrieve their disgrace and 
repossess the lovely Salamis. The appeal was sustained by 
the ardor of the younger citizens, war was recommenced, and 
Salamis was recovered. As the name of Pisistratus is promi- 
nently connected with this conflict, authorities are inclined to 
attribute the speech of which our first two selections are frag- 
ments to the latter part of the life of Solon. In these, as in — 
all of his lines, the earnestness of his feeling, the intensity of 
his devotion to the public interest, can still be felt, while they 
also present suggestive pictures of the state of Athens and his 
work for its welfare. 

For the trochaic tetrameter in Sates VIII and IX, ef. 
G. 1651; HA. 1083, 


SOLON 


SAAAMITS 
I (1) 
Abros kypv€ HrAOov ad iwepTns Lahapivos, 
KOG Mov éTéewy WOdnV avT ayopns euevos. 


| 11 (2, 8) 

Einv 8) 767’ éyo Podeyavdpwos 7 BweKuvyTyns 
> , > 3 lA QD , 
avti y "APnvaiov, tarpid’ ajeupapevos ° 

> \ x , Y a: 5 , , 

arba yap av paris noe per avOparro.or yevouto: 
> X\ a b ] A A wn 
ATTLKOS OUTOS avynp TOV LarapivadeTov. 

5 lowev eis Yarapiva, paxnodmevor TEpt VYTOUV 

imepTHS, KaAETOv T AlTKOS ATWO OMEVOL. 


TIIO@HKAI EIS A®HNAIOTS 
III (4) 
“Huerépa O€ modus kata pev Ards ovror ddetrau 
aicav Kal pakdpwyv Oeav hpévas abavartav 
Ton yap peyalupos erioKorros OBpinorarpy 
‘Tladdas ’AOnvain xetpas vrepbev exe: 
5 avTot O€ POeipav peyadynv Tod adpadiyow 
aotot BovrovTa: xpypact TreHouevot, 
oyjpou 0 Hyenover adiKos vdos, Oia ETOtWLoV. 
UBpwos éx peyadys adyea Tohha wale: 


\ 4 
ov yap érioravrar KaTéexey Kdpov ovde Tapova-as 


> , “A X 3 e , 
10 evdpoovvas koopetv Saitos Ev NoVXi7. 
* * * * * * 
‘ A 2 9PQS 7 ¥ 4 
mrovrovaw 8 adikors epypact TrevGopnevor 
* * * * * * 


13 


14 ELEGIAC POETS 


x4? ¢€ a / “od f 
ov? iepwy KTedvev ovTe TL Onpooiwr 
pedopevor KNemTovaw Eh aptayn a\d\ofev addos 
ovde dvrdaooovTa ceuva OeueOda Aixns, 
15 1) Ovyooa oUVOLWE TA yryvopmeva TPO T €dvTA, 
TO O€ YpOv@ TaVTWS HAP’ atroTLTOpeVn. 
na > ¥ A , ¥ Y » 
TOUT HON Tay TOE EpyETaL EAKOS AduKTOV: 
> de \ , ¥ A 5 X 4 
Els O€ KaKNV TaXEws NAVE OovrAOTUYYD, 
ra) , ¥ , 4 —’ 70 2 a4 , 
n oTaow Eupvdrov mohenov O° evdovT Eemreyeipet, 
3) “A 3 \ ¥ e , 
2 Os ToAA@Y Eparny wrecev NALKinV 
ex yap Svopevewy Taxéws TohvYypaTov actu 
4 3 , “~ A > 3 \ lA 
TpvyXETaL EV GUVdOOLS THS aOLK éoTt ida. 
TAUTA pev ev Onuw oTpepeTar KAKA: TOV O€ TEVLYPOV 
e A \ “A b ] 5 - 
iKVOUVTaL TOAXOL yatay €s ad\NodaTHY 
la A v4 > 3 , 4 
23 mpabevres Seapotot T aekedloror O€O&TEs, 
kal Kaka Sovdocvyys oTUyva hépovar Bia 
n Y Pp ‘i 
Y » > , 
ovTw Snpdo.oy KaKoV EpyxeTat OlKAO EKAOTO, 
» 7 ¥y¥> ¥ > 37/7 , 
avdeor 6 er exe ovk €0édovor Ovpat, 
¢e \ ~ Beak \ 4 ¢ , e \ , 
wnhov & vmép Epkos UrépOopev, evpe dé TavTWS, 
30 €l Kal Tis Pevyawv ev pvy@ 7 Jaddpov. 
Tavta dudaEar Oupos “APnvaiovs pe Kedevet, 
ws Kaka TAELoTA TOKE SvTVOpLia TApeXel, 
> , > A 4. , 73 / 
evvouia O EvKOTMA Kal apTLa TaVT aodaive., 
\ \ a 5 , > ‘6 4 
kat awa Tots adixors duditiOnor wédas : 
. pee, | ae 
35 Tpaxéa Nevaiver, Taver KOpoV, UBpi apwauvpor, 
Wea >» ¥ , 
avaiver 8 arns avlea hudpeva, 
b) , \ 4 ‘ e , 4 a (ae 
evOver d€ Sixas okodas UTepndbava T epya 
mpavver, Taver 0 épya Suyooracins, 
, a. 3 l4 ¥ , ¥ o5¢ > 3 ~ 
maver 0 apyadéns epioos ydXov, eat. 8 bm avTys 
4 3 ¥ \ 
40 TavTa Kat avOpdrovs apria Kal TWUTa, 


SOLON tS 


IV (5) 


A , A \ -5 / , 4 > A 
HUW Pev yap €Owka TOTOY KpaTos, OoTOV eTapKel, 
~ A ee) N ye ae 4 
TYULNS OUT adehov ovT ErropEeEapevos: 
ot 0 eixov Ovvapuiy Kal ypyHpaow Hoav aynrToi, 
Kal Tots ebpacduny pnoev aeukes Exel: 
¥ aa te \ ‘\ , > , 
5 eatny © apudiBarav Kpatepov oaKos audorépoio wy, 
A > b + > > - sO 7 
yikav © ovK Elao ovdEeTEepous adikas. 


V (11) 


Ei 6€ werovOare A\vypa Su’ vereépnv KakoryTa, 
py Te Geots TovTwY potpay erapepere : 
avTol yap TovTous yvEHoaTe pUpata SdrTEs, 
kal dua TadTa KaKnY eoyeTe SovAoTUY NY : 
aay > @ es \ 7 ¥ , 
5 Dew O els pev EkaoTos addmekos tyveot Baiver, 
ovpraci & vty yadvos evertt voos: 
5 \ lat e a \ > yw x7 > v4 
Els yap yAaooar Opare Kal Eis Eros alddov avdpos, 
3 y >. > \ 4 4 
els epyov 0 ovdev yuyvomevov Bdémere. 


TIIO@PHKAI EIS EATTON 
VI (13) 


Mvypoovyys Kat Znvos ‘Odvptriov ayaa Tékva, 
Movorat Iuepides, KAvTE pou evyoMEVa: 
t 
» Q A , ; 4 ‘\ ‘\ 
ohBov por mpos Gedy pakdpwv ddre Kat mpods 
aTavT@Y 
avOparrav aici dd€av eve ayabyv- 
5 eva O€ yAvKdY WOE didots, ExOpotor 5é TuKpdr, 
a) \ > A A \ ‘ > A 
TOLOL ev aidotov, Toto de Sedov ideEty. 
‘4 ie e , \ y LOU de A 
xpymara & ineipw pev evew, adixws S€ reac Oar 


16 


10 


15 


20 


30 


30 


ELEGIAC POETS 


ovk COéhw* mavTws vaoTepov WAGE Sikn. 
w a’ \ “A , , > 4 
mrovTov 8 ov pev daar Deoi, Tapayiyveras avdpi 
eumedos EK veaTou TUOpEvos Eis KOpUdHY : 
A 2 ee , e > 3 A , 
dv 8 avdpes petiwaw vd’ vBptos, ov KaTa Koo pov 
¥ 5 2 3907 ¥ , 
epxeTat, GAN’ adixois Epypac. meOdpevos 
b] 3 , Y 2 aS ne + 
ovk €Hédwv eretar: Taxéws 8 avapioryerar aTn: ~ 
PY * 3 > lA 2, y , 
apxn 5 €€ ddiyou yiyverar wore trupés, 
pravpn pev TO TpPOTov, avinpy S€ TedevTE 
> \ \ A y ¥ , 
ov yap dnv Ovytois VBpLos epya TéAEL. & 
ahha Zevs tavtav ehopa Tédos, e€ativys dé 
7 > » , > oh i 
WoT avenos vedédas aba SuecKedacer 
Npwos, OS TOVTOV TOAUKUpLOVOS ATPUYETOLO 
Tuo eva KWHTAS, yYHV KaTa TUpOddpoV 
, , ee A Y b ] \ e 4 
dnaooas Kaha epya, Oe@v edos aimdy ikdver 
> , P) , “eer ¥ IA A 
oupavov, atOpinv Oo avris eOnKkev idety: 
apres O Hediovo pévos KaTa Tiova yatav 
4 > \ , > \ ae A ‘ > A 
Kahov, aTtap vedhéwy ovdev er eotiv idetv: 


i 4 my , , s9Q>9 3 79 ¢ 4, 
tovavTn Znvos wéderat Tiots, ovd eb ExdoTe, . 


4 ‘\ > - 4 > ? 
wamep Ovntos avyp, yiyverar 6€dxoXos ° 
+ ate > ed , / 4 > 4 
aiet O ov € AEAnOe Staptrepés, Gots adiTpdv 
‘ ¥y , > > | , b] 4 
Oupov eyn, wavtws 8 és Tédos e€ehavn: 
¥ - \ 2 Fi DF ec 2 > \ 4 
add’ o pev avtix eruoev, 6 8 voTepov: et d€ d¥ywow 
avrot, unde Dewy pop’ emiovaa Kixn, 
nrvle mavrws abtis: avairio épya Tivovow 
N Wades TOUTaV H yevos eLoTicw. 
Ovyntoi & ade voevpev Guas ayabds TE KaKds TE: 
5 4, 5. § , 4 ¥ 
nvevew avTos dd€av EkaTTOS EXEL, 
4 a / > 9. FOF 29 Ore ¥ de 
mpl tu tabeiv: tore 0 avtix ddvperar: uxpi OE 
TOUTOU 









ae 


A st a +TH5 
iVER 2sity 
17 


XaoKovTes Kovpars EAtrion TepTOpEDa 
XWoTLs mev vovooiow UT apyahénor mec On, 
Ws VYLNS ETAL, TOUTO KaTEppacaTo ° 
a\Xos dedds Eov ayalds SoKxel Eupevar avyp, 
40 Kal Kadds, popdny ov yapieroay Exav 
ei S€ Tus AX pyar, Tevins 5é piv Eepya Baran, 
KTHoEoOaL TaVTWS KpHpaTa TOANA SoKEt 
omevoe, 0 ad\dofev addos: 6 pev KaTa TOVTOV adaTaL 
év vyvotv ypyCwy oikade Képdos aye | 
45 tyOvoevT , aveoror hopevdpevos apyad€orow, 
\ A > / , 
pevdadynv wuyns ovdepiav Oéuevos: i. 
¥ “~ v4 ; Fs 3 / 
ahdos ynv Téwvav todvdevdpeor eis eviauTov 
arpever, TOLoW KapTUN apoTpa pede 
ahdos “APnvains te kat Hoaicrov modutéyvew 
, 


epya Saets yepoiv Evddéyerar Biorov 
addos ‘Ohvupmiddav Movoéwv rapa Sapa ddax Geis, 


» 
50 
» > 
LEpTHS Topins PETPOV ETLOTAMEVOS 
ahdov pave etiqucev avae sles yO AmroAXar, 
eyvw Oo avOpt KQKOV Seas PRONE, 
55 @ Lit sel sunk Beoi: Ta de Hope TAVTWS 
OUTE TLS OLWYOS pUaeETaL OVO’ eps 
¥ 


ado ILlav@vos Tokupapudakov Epyov EXovTES 
KQL TOLS OVdeY ereaTL TéAOS 
, , ¥ 


inTpol* Kal TOLS 
ToddaK 6 €€ dhiyns ddvvys péya yiyverar adyos, 
60  KOUK av Tis UoaLT Hmia PappaKka Sovs 
Tov O€ Kakats voUToLaL KaKovpeEvoy apyadéats TE 
ardpevos yerpowv aba TiOno’ vin. 
Moipa d€ rou Ovyrotor KaKkdv héper Ade Kal eo Oddv: 
ddpa Oo aduxra Oedv yiyverar dOavdrwv. 


18 © ELEGIACG POETS 


A , s Mess Falk 2g 7 5 
65 mao. O€ ToL KivduVvos eT Epypacty, OVE TLS OLDE, 
7) peEANEL TXKNTEW, YPHLaTOs apYomEevov- 
+ 2 ¢ \ o> 9° , p) , 
add’ 6 pev ED Epdey TELPGpEVOS OV TpPOVOHcoas 
Els peyadnv aTnv Kat yahemny erecer, 
a Q wn Y \ \ 4 / ; 
T@ O€ KaKOS EpoorvTL Heds TEpt TdvTa Sidwow 
, b) - y bd] , 
70 «=ovvtvyinv ayabyv, exhuow appoovrys. 
4 > b] \ lA lA b] , “A 
thovrou 8 ovdev Téeppa Tepacpevoyv avdpaor KElTaL: 
ol yap VOY NuEewr TAELaTOY Exovat Biov, 
dutlacios orevdovor Tis av Kopéceey aTavTas ; 
4 , A ¥ 3. / 
Képoed Tor Ovyntois wracay a0dvaro.: 
A > 93 Ie Sp > , "= e , , 
75 atn O €€ avTav avadaiverat, nv ordtay Levs 
Tema TUTomevnv, adore aAXos EvxeL. 


VII (15) 


loot yap mAourevot Kakol, ayalot dé mévovTat: 
add’ Hels avtots ov Siapenboucla 

A b) A \ a 3 ‘ oS \ ¥ 

THS ApeTHns Tov ToOUTOY, Emel TO fev EwrrEdoy altel, 


xpypata 0 avOpdmwv addore adXos Exel. 


TETPAMETPA IIPOS ®OKON 


VIII (33) 


Ovx efu Xorwv Balidpwy ovde Bovdyers avyp- 
éxOha yap Beod diddvTos adTos ovK ed€EarTO- 

\ > ¥ > \ > 3 4 , 
TepiBarov 8 aypav, ayacbels ovK eréoTacey peya 
dixtvov, Ovuod & apaptyn Kal dpevov atroodaneis: 
nledov yap Kev kpatyoas, TAODTOV adbovov haBav 


Ct 


\ , b ) A A e 4, , 
kat Tupavvevoas A@ynvav povvoy nuéepav piav, 
b ] \ Y , b ) A , 
GoKOS VoTEpoY dedapOar Kamuret pipOau YEvOS. 


XENOPHANES 19 


A IX (34) 

wn A , aah Re , A lA 4 
Xadva pev tor ebpdcavto, viv d€ or yoNovpevor 
hofov ddOadpots 6p@ow mavtes wate SyHiou. 


XENOPHANES 


Xenophanes was even more celebrated as the reputed founder 
of the Eleatic school of philosophy than as a poet. He was born 
at Colophon, but was exiled from his native city, and evidently 
lived for many years in Italy. With regard to his date we only 
know that he flourished in the latter half of the sixth cen- 
tury B.c. He was the author of a number of poems, of which 
his elegies are those best known to us. His spirit of criticism 
placed him in -revolt against the stories of Homer and Hesiod, 
who were the chief teachers of theology for the Greek public. 
He upholds the dignity of philosophy and intellectual worth 
against the excessive admiration of the Greeks for glory won 
in the public games and for athletic superiority, while he 
chides his countrymen for their growing luxury and effemi- 
nacy. He recommends that at the banquets the praises of 
virtue rather than the conflicts of Titans and Giants should 
be sung. 


EAETEIA 
I (1) 
Nov yap 87 Camedov kafapov Kal yelpes amdvtwv 
\ , \ > 3 A , 
Kat KUALKES* TeEKTOUS O audiTifel aTEdavous, 
addos 8 evades pvpov ev diddy Topavver: 
Kpatnp & eaTnkev peotos evdpoovrys : 
¥ an) > e A. a A \ , 
5 adXos 8 oivos Erotpos, ds ovToTE Hyot Tpoddce, 
petAtxos Ev Kepapors, avOeos d0ddpmevos : 


20 ELEGIAC POETS 


3 de ? e \ Ye) \ \ Y 
Ev O€ pEooLS ayyynVy odpyny MBavwros now, 
\ >» yY \ \ \ 4 
puxpov o e€otw vdwp Kal yAuKd Kal Kafapdv: 
, > » \ , 2 /, 
TapKevTat 0 apto. EavOoi yepapy Te Tpamela 
10 Tupovd Kat péALTOS Tiovos ayfouery 
Bopos 0 avbeow av 7 pécov TavtTn TeTiKacTAaL, 
porn & apdis exer dapara Kal Oadin. 
\ de a \ fa \ e la) ¥ »¥ 
Xpy O€ mpaTov pev eov vuvelv evppovas avdpas 
> , 4 x A 4 
evpypors pvOos Kat Kabapotor Ndyots. 
, de ss > , \ OL 4 
15 omeioavtas O€ Kal evEapevous.Ta Sikara Sivacbau 
TpPHTTELY —TAVTA yap WY EOTL TPOKELPOTEpPOY, 
3 yY , e , ' yy > , 
ovy uBpis,— tively OTTOTOV KEV Exwy adikoLo 
¥ >» , \ , , 
otKad avev mpoTodov, fr) TavU ynpadéos: 
3 5 a > > ~ a rat > ‘\ N > " d 
avopwv 0 aivew TovToV, os EcAa TLoV avadaivel, 
4 e / > s \ \ CY) > - eS a 
20. WS Ol MYNMOTUY 7, Kal TOV, OS aud apeTns, 
y 4 , ? > \ , 
ovTL payas Ovéres Tiryvev ovde Tuydvtar, 
ovd avd Kevravpwrv, mhdopata Tov TpoTépwr, 
n OTaoLas oPEedavas: ToLs ovdey YpNOTOY eveoTL: 
Jeav S€é rpounbeinv aiey exe ayabov. 


II (2) 
b > > \ “A a , : ¥ 
AA’ &t pev TaxuTATL TOO@Y vikyV TLS apoLToO 
x , Y» Q , ; 
n wevTaOdevwv, €vOa Aros Téwevos 
\ , ec “A 3 > , x , 
map Iioao pons ev Odvprin, etre Tadaiwr, 
N Kal TUKTOTUYYY ayiwdoecoay eywr, 


i) | 


¥y X \ ¥ ro) , , 
Eire TO Sewvov aeOov, 6 TayKpaTLov Kadéovow, 
aoToilv K Ein KVOpOTEpos TpoTopar, 
A y 
kal Ke Tpoedpinv davepny ev ay@ow apoio, 
Kal Kev otT ein Onpociwy KTEdvav 
Pat 4 \ lan) 4 c , y 
Ek TOMEWS Kal SWpoV, O OL KELULHALOV Ely: 


THEOGNIS 21 


¥ A ne Aw Pa b es 4 , 
10 €lTE Kal LTTOLOLWW, TAVTA x atravTa Aayot, 
> 3N ¥ Y 3 7 e124 \ > “4 
ovUK €wv afLos, WOTEP Ey@: pauns yap apeivwr 
> A 3Q3 9 e , lA 
avopov 70 immov nuetépn codin. 
> > Le et. , i , 2Q\ , 
GAN’ eikn para TovTO vopilerar: ovde SikaLov 
TpoKpivey pony THS ayalhs codins. 
15 OUTE yap el TUKTHS ayabds aotor peTeEin, 
¥ 39 9 A xd , 
ovT el mevTabNety, ovTE Tadao pocorn), 
OVOE MeV El TAYUTHTL TOO@Y, TO TEP EOTL TPOTLBMOV 
es é ee. A 4 c Fe > A , 
pouns ooo avdpav epy ev ayour Tee, 
¥ x ~ ~ 3 > “4 “4 ¥ 
Tovvekev av O17) addov ev evvomin TONS Ein: 
bs - ed 4 , 7 Ea ved, A 
20 opiKpov 0 ay TL TOdEL Yapwa yevouT emi TO, 
y > , la fp > » 
et TUS AeEOAevwY ViK@ Ilicao Tap oyBas: 
ov yap TLaiver TAVTA PUYOUS TOEWS. 


THEOGNIS 


For the life of Theognis we are dependent upon what we 
can glean of statement and suggestion about himself from his 
own works. As his poems, however, are not handed down to 
us In any complete form, our information is to an unfortunate 
degree based upon conjecture. We can feel nevertheless that 
the main points in his history are fairly certain. He was a 
native, we conclude, of Megara, across the bay and the island 
of Salamis from Athens. He flourished during the latter half 
of the sixth century B.c., and there is some reason to believe 
that he lived through the years at the beginning of the cen- 
tury following. 

For a long time previous to the birth of Theognis his native 
city had suffered from a series of revolutions which threw the 
control of the state back and forth between the oligarchs and the 
commons, or tyrants who usurped the power in the commons’ 


22 ELEGIAC POETS 


name. Theognis belonged by birth and by sympathy to the 
nobles, and his poems naturally reflect his feeling of indignation 
over the misfortunes of his friends, and his thorough hatred of 
their political opponents. His sentiments were greatly intensi- 
fied by his personal losses, as his property was confiscated and 
he was sent forth an exile, homeless and almost friendless. He 
found at last a resting-place in Megara in Sicily. It was the 
natural result of his experiences that all his thoughts were 
colored by his political feeling. In his writings the nobles are 
always the dyafoi and éo@Aoi, and the common people are xaxot 
and deAo/, so that these words, as they occur in his poems, are 
always to be taken as having much of this political signification. 

His poems were regarded as especially valuable for their 
shrewd judgment upon human life and for the wise maxims 
which were the outgrowth of his many-sided experience. Such 
reflections as were counted especially valuable were apparently 
culled from his works and brought together because they 
reflected so well the judgment of the average Greek gentle- 
man of culture. The collection was naturally enlarged by 
attracting to itself similar suggestions from other authors, so 
that we have under his name an anthology in which the Greek 
spirit utters itself in most suggestive language, but it is not 
always easy to conclude who was originally responsible for each 
sentiment. The collection is supposed to have been used as a 
text-book for the school training of the Greek children. If we 
would attempt to select the poems which really belong to Theog- 
nis, we can only use our best judgment in attributing to him 
those portions which are not referred to as belonging to other 
poets, and which are tolerably consistent with one another in 
their testimony about their author. We are helped in this 
because his experience was not of a commonplace character, 
and his feelings are intense and expressed with a vigor which 
could not fail to give them a certain distinction. Many of his 
poems were addressed to one Cyrnus, the son of Polypais, a 


THEOGNIS 23 


young friend of whom we know only what he tells us. The 
name, however, identifies the poems where it occurs as belong- 
ing to Theognis. Even where we cannot be certain who com- 
posed the lines, they are interesting because the Greeks gave 
them a place among their rules of life. The edition of Bergk 
gives some fourteen hundred lines of the elegies of Theognis, 
of which selected portions are given here. 


i - aA ¢? \ 4 iA a 
Q, ava, Antovs vie, Avos TEKOS, OUTOTE GELO 
Anocowar ApYomeEvos OVO atroTTAVdLEVOS, 
p) 2 2138 A \ . ¥ ps3 
ahd alel TPWTOV TE KAL VOTATOV EV TE PET OLOLW 
deiaw: od O€ pou KAVAL Kai eo Oda Sidov. 
5 DotBe ava€, ore pev oe Yea Téke TOTVLA ATA, 51 
lA e ~ Tee , 
poiviKkos padwys xepoly eharapery, 
3 l4 , LS fee a 
adavatwv Kadd\oror, emt Tpoyoeoet Niwvy, 
~ \ 3 4 ~ > “4 
Taca pev et\ynoOyn Anos arreperin 
40 A 3 , » \ a , 
dduns auBpoains, éyéhacce 5€ yata Tehdpn, 
10 ynOnoev dé Babds movros adds modus. 10 


“Apreut Onpoddvn, Ovyarep Avos, nv ’Ayapeuvor 
Y > ee 4 ¥ \ A 
eical’, or €s Tpoinv emcee vnvot Boats, 
5 2 Lal Q b ] - \ A Y¥ 
EvXOMEV@ pot KNVAL, KaKas O ATO KHpas adadke : 
Gol ev TOVTO, Hed, opiKpov, Ewol dé péya. 


la) \ aA ¢ 
15 Movoa kat Xapures, Kovpar Atds, at tote Kddmou 
3 , 3 Lal X\ > 2 >» 
és yapov ehfovora Kahov aeioar eros: 16 
4 
orTL Kadov, didov éoti: TO 5 ov Kahdv ov didov 
EOTIV. 
aes yy > 4 iy XN , 
tout eros afavatwy WrOe dia oToudrwv. 


1The figures on the right give the numbering of Bergk’s edition. 


24 


20 


25 


40 


ELEGIAC POETS 


Kv € d C PA \ 3 \ d \ 5 4 Q 
pve, copilopev@ prev e€wot odpnyis emueiobw 
A > ¥ , > ¥ 4 
Toad emeciv, AjHoe O ovmore KEeTTOpEVA. 20 
ovo Tis ahAdEa KaKLov ToTAAOD TapeEdrToS 
ae Q os 3 A 4 , 5 ¥ 
ade O€ TAS TLS Epet: Bevyridds eotw ery 
a 4 V4 \ a ae 4, >] 4 
Tov Meyapéws: mavras b€ kar’ avOpamovs 6vopacres 
doTois Toco ov TH TAC adEty SUVapat: 
ovdev Oavpacrdr, Ilodvratdyn: obdé yap 6 Zevs 5 
4¥f)?> , » Fae, 4, ¥Y 3 3 l4 
ov? vav Tavreco avddve ovr’ avéywv. 
er ee ee Oe , : , a? >? 
Lol O° eyo ev hpovéwy vroOyocopat, oid TEP avTos, 
Kupv’, amo Tov ayabar trais er édy eualor. 
TETVVO, NO aio xpoio em epypace pnd adikorow 
\ 2 > ‘\ 4 > » 
TLLAS NO apeTas EAKeo pnd adevos. 30 
a) y A 
TavTa pev ovTws tof: KaKotor € 47) TpoTopirer 
> , > b ] aN a > A ¥y 
avopaow, add’ alet Tov ayalar exeo: 
Kal eTa TOLOLY Tive Kat eoOue, Kal pETAa TOLOLY 
4 te A e 4 Py 4, 
ile, Kal avdave ToLs, OV peyadn Svvamis. 
b] A \ \ y 39 > ‘\ la x \ 
esOhav pev yap am eoOda pabyoea: Hv dé ka- 
KOLO 35 
, > a \ ‘ 37 4 
Tuppioyns, amodets Kal TOV EOvTA VOOV. 
- \ > A £5. | a , 
tavta palov ayabotow opidee, Kai moTe HHTELS 
> , A 4 3 , 
ev cup PBovdrevey ToLoL Pidovowy Eye. 


Kupve, Ker 7odus nde, S€douKa O€ 7) TEKY AVOpAa 
ev0uvtnpa Kakns UBpLos Hmerepys. 40 

> \ \ \ +f)? yY , e / 7 

aoTou pev yap 0 olde caddpoves, Hyepoves SE 
TeTPAhaTat TOAAHY €s KAKOTYTA TEC ELD. 


Ovdepiav 7w, Kipv’, dyafoi rodw addeoav avdpes: 
> > ¢ ¢ / A a yY 
ahd’ orav UBpilew Toto. kakotow adn, 


45 


50 


55 


60 


65 


70 


THEOGNIS ag 


dnpov Te Hbcipwor, Sikas T adixoror SvdOcL 45 
oikeiwy KEepdewv ElveKa Kal KpaTéos, 
yy \ \ / , > A 
é€\zreo ur) ONpov Keivyny ToL atpemetoOan, 
pnd et vov Tohdy KeiTar év Hovyin, 
5 > RK A A 4\ 3 > “4 “A id 
evT av TOLGL KaKotot Pid avdpaor TavTa yevyTat, 
Képdea Snpociw avy KaK@ épxomeva. 50 
3 “ \ la , \ ¥» 3 > A 
EK TOV Yap OTACLES TE Kal EUvAoL Povor avdpov 
re , > “a / , A Y 
povvapyot &: a woke pymoTe THOSE ado.. 


Kupve, wos pev €0 nde modus, Naot dé d7) aAXou: 
ot mpoo ouvte dikas HOewav, OUTE VOmoUs, 
add’ apt trevpyot Sopas aiyov KatérpiBor, BD 
e€w 8 wor é€hadhor THSO eveéwovTo TOX«E0s, 
Kat vov elo ayalot, Ilodkvraidn: ot dé ply éc Ooi 
pov dedol. Tis Kev TadT avéyour évopar; 
addydous 8 arataow er ahdAypdovor yeAOrTes, 
OUTE KAKOV yvapas ElddTEs OUT dyalar. 60 


Mydeva Tovde didov toved, Todvratdyn, dorav 
ex Ovjov, ypeins Elveka pnoeutys: 

adda doxeu pev TaoW amd yaoans hidos Elva, 
xpHywa dé cuppiEns pydevi pnd dtiodv . 

omovdaiov: yvoon yap dilupav dpévas dvdpav, 65 
wos od et épyoow Tiatis er ovdemia, 

adda dddous 7 amdras Te ToAUTAOKias T epiAnoar 
OUTWS, WS avdpes pnKeTL owEdpmevor. 


\ 2." A \ > , > 4 
Toros avnp xpvaod te Kal apyvpov avrepicacbau 
agios ev xakern, Kipve, duyooracty. 78 


26 


75 


80: 


85 


90 


ELEGIAC POETS 


Ilavpous evpyoets, Lloduraidn, avdpas eraipovs 79 
TuaTOUS Ev YahETOLS TPHYWAacL ywopevous, 
y x A ¢€ , \ ¥ 
oiTives av TOAWMEV, OMOhpova Oupov ExorTEs, 
ioov Tov ayabov Tov TE KaKOV pETEYELV. 
b) , > y 1 , BAND 9-8 4 
ov TOaGoUs x Evpois* dilyjpevos Od ETL TaVTas 83 
é fa ¥ 
avOparrous, ovs vavs pi) pia TavTas ayoL, 
e 2 Le , “Ni- 2} a y 
olow emt yLooon TE Kat OPOarpotow emeotiv 
3 , sQ> b ] ~ > »¥ v4 + 
aides, ovd aloypov yp em Képdos ayet. 


M 4 > ¥» \ , , > ¥ \ , 
N pf ETETWW pEeVv OTEPye, VOov O EXE Kal Ppevas 
ad\as, | 87 
¥ lal 4 \ » , 
EL we PiAELS KAL DOL TLOTOS EVETTL VOOS, 
> \ lA \ , , A - ee 4 
ahra dire Kabapov Péwevos voor, n p’ amoeuTev 
y 3 > , A > / 
éeyOarp, appadinv vetkos aeipapevos. 
a \ a , ,>Y» , ae és 
ds b€ pin yhdoon Six’ exer voov, ovTos Eratpos 
deuds, Kvpv’, €xOpos Bédrepos 7) pidos ov. 


Et Tus €maunon oe TOTOV Kpdvoyv OaGOY Opens, 9% 
\ - le ~ ea V4 
vooguabeis 8 addy yAOooar ino. Kakyp, 
~ lA ¢€ lan > X / A ee Ney , 
TOLOUTOS ToL ETALpos avnp didos ovTL pad ecOdos, 
4 > ¥ , a “~ > ¢ 
OS K Ein yAooon oa, Ppovy 9 ETEpa. 


"ANN etn TovodTos Emoi didos, ds Tov Eralpov 97 
, > \ \ \ ¥y l4 
yvookov opynv kat Bapvv ovta dépe 
> A , \ , , A239 N ra 
QVTL KagLyVYATOU: ov O€ pol, hire, TadT evi Oupo 
ppaleo, Kai mor e“ov prycea e€oTricw. 


Mybseis o avOparov teion KaKdv avdpa diinoat, 101 
Kupve: ti 0° €or’ odedos Seidds avnp didros ov; 


1B. réccous 5° od SHes. 


THEOGNIS at 


» > »¥ 9 3 a / c/ is Red 
9 oUT av o €k yadeTolo TOVOU pUGaLTO Kal aTns, 
yy 3 by ¥ ~ ~ 3 A 
oute Kev EoOAOv Eywy TOV peTadour EOEXov. 


Aeovs eb EpdovTe patavoTaTn yapts eoTiv: 105 
ioov Kat omeipey TOVTOV ads TONS. 
” \ s\ , ? \ pee 3 an 
OUTE yap av TOVTOV oTeipav Bald Aylov aps, 
¥ \ 5 A 5 , y , : 
100  ovTE KaKoUs Ev Spav ev Tah avTiAdBors: 
¥ N ¥ \ , x 2a e. ¥ 
am\noTov yap €xovot Kakol voov: Hv O Ev apapTys, 
Tov Tpoabev TavTaV ExKexuTaL hidrorTns. 
e€ t doe. ‘\ \ l4 3 a , 
ot 0 ayabot 76 péytoTov eravpioKover Taldrtes, 
A > » $29 ~ \ , 3 , 
pvnpa do exova ayalov kai yap e€oTicw. 


105 KuBdyAov 8 avdpos yvovar xaherdrepov ovdev, 117 
Kvpv’, 00d evaBins éoti wept méovos. 


~ 4 Ko SS 4 » y 
Xpuaov KiBdydovo Kat apyvpov avayeros aTy, 119 
4 . Ee A a > \ A 
Kvpve, kat e€evpety padiov avdpi coda. 
3 4 
el d€ hidov vdos avdpds evi oryHOecor heAHOn 
110  vdpos edv, dddov SB év dpeoly Hrop eyy, 
“~ ‘\ ‘4 4 A 
TovTo Beds KuBdynAdTaTOV Toince Bporotow, 
\ a A 
Kal YVOVAL TAVT@V TOUT aVUNpoTaTov. 
> \ ¥- 14 30-7 > \ , IQA , 
ov yap av’ eideins avdpos vdov ovde yuvaikds, 
Tmpw mepynleins waomep Urolvyiou: 
a eae y > te 299 ) 
115 OVOE KEV ElKATOALS WOTEP TOT es wYLoV” EO OD: 
, \ v4 3 “~ > 3 l4 
TOAaKL yap yvopunv eEaTTaTao lo€an. 


> \ 3 > ? \ i ‘ ¥ 

Ovdev év dvOperoio. TaTpds Kal pyTpds apeuvor 131 
¥ > YY Cae , , , 
ete’, orors dain, Kupve, wéunre dirn. 


1B. obv5é yap. 2B. wpuov. 


28 


120 


125 


130 


135 


140 


i 


ELEGIAC POETS 


b] , 4 > A \ , ¥ > / 
Ovdeis, Kupv’, arns kai Képdeos aitios attds, —138 
3 ‘\ \ 4 " > lA 
aha Geot rovTwyv Sdropes audorépar 
> 4, > 4 3 4 3 \ 3 4 
ovd€ Tis avOparrav epyalerar, ev Ppeciv €cidas 
3 , $i ee ‘\ 7 yx 4 
€s TEMos iT ayabov yiverar EiTE KaKOV. . 
Tohdak yap Sokéwv Onoew Kakdv, €exOddov EOnKev: 
, A , > / ¥ 4 
kai Te Sox@v Once ecOdodv, EOnKe Kakov. 
ovoe > A , 4 € 4 > 24 ‘\ ; 
ve T@ avOpaTav Tapayivera, ooo eOEAnoW 
loxeL yap xaderNs TElpat aunyavins. 
+ \ U4 , > , ] , 
avOpwrot S€ paraa vopiloper, eiddres ovder ° 
Deot d€ kata od€repoy TdvTa TedovGL VooP. 


Ovdeis tw Ecivov, Tlodvraidn, eEarratynoas 143 
2903 ¢ +» A > , ¥ . 
ovd ixernv Ovntav adavarous édalev. 


Bovieo 3’ evaeBéwr ddiyous ody ypHpacw olKELy, 145 
) TovTELY, Adikws XKPHpaTa Tad apeEvos. 
b \ , / Pe LS, HD 4? i 
ev 0€ Sukatoovvyn avAAHBSnY TAT apeETH OTL, 
~ , - Von Sota > 4 , 4 =F os 
mas 0€ T avynp ayalds, Kupve, dSikatos eav. 


Xprpara pev Saipwv Kat TayKaKw avodpt didwow, 149 
Kupv’: aperns 8 dXiyous avdpdor potp’ emerau. 


My or€ rou twevinv OvpodOdpov avdpi xorwbeis, 155. 
pnd axpnpoovryv ov\opevnv Tpdodepe ’ 

Zevs yap Tou To TdAavTov emippemer addoTE adds, 
adore pev mrovTeiv, adore pydev EXEL. 


Mymore, Kup’, ayopacbar eros péya: olde yap 
> 4 . 
ovdeis 159 
> , 4 ‘ e - > \ “A 
avOpadmrwv o Tu vvE ynwéepyn avdpt Tedet. 
e 


THEOGNIS 29 


"AN ado Kkakov €ort, TO 8 atpeKés OABLos ovdeis 167 
b] 4 c , 2 AN 62 “ 
avOpdétav, dmdaous HEALos KaHopa. 


145 “Ov d€ Deol Tyn@o’, 6* Kal pwpedpevos atve: 169 
> \ \ \ , > “4 
avopos S€ orovdn yiverar ovdepia. 


A ¥ ff A 3 ¥ , ¥ ' + 
@eois evyov, Feois EoTw Em’ KpaTos: ov ToL aTEp 
beav 171 
7 a b J , ¥y 3 5 , > ] ¥ ® 4 
yiveTau avO porous OUT ayab OUTE KOK. 


¥ 2..°> ‘\ ? U4 4 , 
Avdp ayabov trevin ravtwry Saprvyot paduota 173 
150 Kal yypws ToLod, Kvpve, Kat Hmuddouv, 
a \ \ 4 b hae” , 4 
nv on xpyn pevyovta kat és Babukyrea évTov 
e Ae \ , 4 7 93 / 
pirTe, Kal TeTpéewv, Kvpve, kat nhuBatov. 
Kal yap avnp tevin Sedunmevos ovre TL EimreEty 
ov? epfou SvvaTar, yoooa Sé ot Séderau. 


155 Xpr yap oua@s emt ynv Te Kal evpéa vata Yaddo- 
ons | 179 
dilnoAat yaderns, Kipve, vow mevins. 


‘\ \ \, 7x , 4, \¢& 
Kpuovs pev kat ovovs dilypeba, Kipve, kal imous 183 
> 7 ? 4 3 > ~ 
evyeveas, Kat Tus Bovderau €€ ayalar 
, j aA de \ A b , 
Bynoecbar: yma € KaKyY KaKoOU ov pededaiver 
160  é€oOdoOs avyp, HY oi ypypata ToAAa did. 
ovOe yuVT) KaKOD avdpds avaiverar Elvat aKoUTLS 
mova tov, add’ adveov BovdeTau avT’ ayabod. 
iA % A ba “a 3 ‘\ ¥ 
XPHMaTa yap TynWoL Kal EK KaKoU éEoOdds eynper, 
\ \ b] > A a ¥ , 
Kat Kaos €€ ayalov: movros eure yevos. 


1B, ov. 


30 ELEGIAC POETS 


165 UTM 7) Oavpale yévos, Ilodvraidyn, aorav 
pavpovobar: cvv yap piovyerar Eo Oda Kakots. 


b 4 4 > \ / s,s A 
Avrés Tou TavTHV Eldw@s KaKdTaTp_ €ovcaY — 193 
» 
Els OLKOUS ayETaL, YpHuact TrELOdpeEVos, 
A , > \ ‘4 > 4 
evdokos Kakddo0€or, TEL KPATEPH piv avayKn 
3 4 4 aie \ , A r. 
170 = ev Tver, NT AVOpOs TAHpova OHKeE voor. 


Xpyya o, 6 pev Avdbev kat ory diky avdpi yerr- 
TOL. 197 
\ “~ - aay, | / vd 
Kat Kabapas, altel Tappmovipov TeheOer. 
> Q>2 3297 \ \ : Sede, es fee a 
el 0 ddikws Tapa KaLpov avnp hiroKepdet Oup@ 
, y¥sy> \ A 4 c , 
KTHOETAL, EL) OpK@ Tap TO SikaLoy Ear, 
> "“ lA , lA ~ b] \ é 
175 avtika pev Te h€pew Kepdos Soke, és dé TeheuTHY 
avfis e€yevto kakov, Deav 8 brepéoxe voos. 
b] ‘\ Qs 4 b] au , 3 - Sie > A 
ahd\a 740 avOpdétev arata voov: ov yap éw avTov 
TIVOVTAL PAKApPES TPHYWaTOS auTrakias ° 


" Kakov ypéos ovde didovow 


> o£ \ ete 8 y 

add O MEV AUTOS ETLOE 
130 =arny e€oTicw Taio ly UTEpKpEMacer ° 

a\dov 8 ov Katewapwe Sikn: Odvatos yap ava.oys 


mpooberv ert Brepapors eleTro Knpa pépwv. 


Kupve, didovs Kata mavtas émiotpepe mroiKidov 
700s, 213 
> \ , Y 2 ¢ ¥ . 
dpynv Tupploywv HVTW EKaTTOS EXEL. 


4, > \ ¥ 4 a \ 4 
185 IlovAvzrov opynv ta xe TOAVTAOKOV, OS TOTL TETPY, 215 
TH Tpowopidynoy, ToLos Loe Epavy. 


1B. rive. 


190 


195 


200 


210 


THEOGNIS ot 


a \ AQ? o4 7 ‘O29 A / F. 
vov pev THO ep€mov, Tore 8 addotos ypda yivov. 
Kpéoowv To. copin yiverat atpotins. 


P 4 
"Ootis Tou Sokéer TOV TANTioV LOpevar OvdEY, 221 


GNX’ adTos povvos Toikiha OyvE EyeL, 

KELvos y adpwv €oTi, voov BeBappevos eo Odod. 
lTWS yap TAVTES TOLKIN’ EmaTapeOa, 

add’ 6 pev odk EOéher KakoKepdeinow ereoOat, 
T@ O€ SodoTAOKiaL pahAov aATLTTOL GOor. 


ae 
\ \ 3 \ a. F 25 ‘ e : b) , 
You pev €y@ MTEP. EOwKa, GUY ois Em arTEipova 
TOVTOV 237 
TWTYHON Kal yHv TATAY aELPaEvosS 
e Lou Q rf de \ > , 7 
pnioiws: Ooiwns o€ Kat etharivyo. Tapéooy 
€v TACOS, TOAAOY KEipEVvOS Ev OTOMACLY: 
, \ b ] , / , » 
kat o€ vv avrtoKovor uvyvPOoyyos véou avdpes 
eV K@MOLS Eparots KaAa TE Kal huyéa 
ad , >. Ra 5 “~ e A 10 4 
G@OOvTaL’ Kal OTav Ovodepns v7 KevOeor yains 
“ 4 > > ae 4 
Bys tokvKwkvrovs eis “Atdao Sdpous, 
ovde TOT ovdE Java arroheis KEos, GANA peAHoeLs 
x > , >\ ¥ »” 
adb@irov avOpwrois atev Exwv ovopa, 
; - ae , ~ 
Kupve, caf?’ Edddda ynv orpwddpevos 79 ava v7- 
GoOus, 
> 4 ~ 4 = et ee 4 
iyOvdevta TEp@v TOvTOV er aTpUyeToL, 
> 4 A 3 , 3 , 4 
ovx Ummos Ovyntoiow éepjpevos: aAAA oe TEmrbeL 
> x 4, A > V4 
ayhaa Movodwy dopa iooreddvwr : 
T40l yap, oto. peunre, kal Eooopevoraw aordy 
¥ Si +” > x = ~ eee 
ETON OMMS, Op av H yn TE Kat HEdOS° 
avTap éywv dhiyns Tapa oed ov TUyyavw aidods, 
aN’ womep pikpov tratoa Adyous p amrara 
TEP MuKp yous p’ dararas. 


32 


ELEGIAC POETS 


Kadduorov 76 dukatdratov: A@otov 8 vyraive: 255 
TpHywa O€ TEPTVOTATOV, TOU TLS Epa, TO TUYXELD. 


5 “lows Tou Ta pev aANa Heot Ovytots avOpwmos 271 


220 


225 


230_ 


235 


A / > b) / i “4 b 26 
ynpas T ovAopevoy Kal veoTynT Edomar* 

TOV TavTwY dé KaKLoTOV ev avOperots, Oavdrov TE 
Kal TATEWY VOVTwV ETTL TOVNPOTEPO?, 
A 3 ‘ 4 \ oy “4 Ve 

Tatoas eel Opdbaro Kal appeva TavTa Tapaoyots, 

4 > > a“ 4 > 3 % / 
xpymata Oo et katabys, Todd avinpa tabdr, 
\ > ten: Mae | 4 A > 3 , 

Tov Tatép €xGaipovor, katapavras 5 atrohéao Oat, 

Kal OTVY€OVT WOTEP TTMYOV ETEPYOMEVOD. 


Tol Kakol ov TAVTWS KAKOL EK YaOTPOS YEYOVACLY, 305 
add’ avdpecou kakots cvvOeuevor hidinv 

¥ 5 4vN > ¥ \ ¥» Py , Kh oe 

eEpya Te Oeih’ Eualoy Kat ern dVaodypa Kal VBpw, 


3 , , , , ¥ 
EATOMEVOL KElVOUS TaVTA Eye ETU[A. 


Kvpv’, ayalds pev avnp yvouny eye eumredov aiet, 319 
Towa © ev TE KaKOLS REI EVOS ev T ayabors. 

el 0€ Oeds KaK@ avdpt Biov Kat tdovTor ¢ ondooy, 
adpaivev Kkakinv ov Svvarau KaTéyev. 


M7 wor émi opikpa mpoddce didov avdp’ amodéo- 


Oat 323 


TeOouevos xaern, Kipve, duarBodip. 
¥y ¢c A , eet \ “e 
EL TLS ApapTwryor diwy El TavTL YoOA@TO, 
ov ToT av adAHAoLS apOutor ovde Hidor 
<i € \ \ b) b , y 
elev’ apapTwdat yap ev avOparovow eovTat 
Ovytois, Kipve: Oeot 3° odk eO€dovor hépew. 


240. 


245 


250 


255 


260 


THEOGNIS Pe 


Y Y ov , eQa ¥ , 
Hovyos, woTep €yo, PETOHV 600v Epyeo TOTT iy, 331 
2 .€ lA 4 , \ a ¢ , 
pnd éréporor didov, Kvpve, Ta THY ETEpwr. 


\ ¥ ‘ , , PM SEK. \ 

Mydev ayay onevdev: TavTav péo apiota: Kal 

OUTWS, 335 
Kupv’, ees apernv, nvre haBetv yaderov. 


Zevs pou Tov Te hirav doin Ticww, ot we hrrevaw, 337 
Tov T €xOpav petlov, Kipve, duvnodpevov. 
» x , > 3 , \ > 
xouTws av dSoxéouue per avOparrav eds eivar, 
El Lh ATOTLOGpEVOV pmotpa Kiyo Davarov. 


“AdAa Zed Tédecov prow Ohvptrie Kaipvov evyyv: 341 
\ , b] \ a / ‘a > / 
dds O€ pou avTt Kakov Kai Te Tabeiv ayabov. 
A ¥ 
TeOvainv 0, €l MY TL KAKOV ApTavpa pEepiLvewv — - 
¢ A 7 vin, a > a > 4 
evpoiuny, Soinv 8 avT avav avias: 
5 \ Y 3 , , x , ea 
aioa yap ouvTws €oTi: Tiots 8 ov haiverar Hiv 
> ~ A 3 \ “4 > ¥ , 
avdpOv, ol TALA YpHpmaT exovar Bin 
? 3 \ \ , 3 , V4 
ovitnoartes: eyo d€ KUwr erépnoa yapadpyp, 
XKELMAPP® TOTAULO TAVT ATOTELTApEVOS * 
A » , a A RE gant NAP \ ” 
TOV Ein pédav aiwa mei: emi T €oOAOs OpotTo 
a lanl 
daiwwv, Os KaT e“ov vouv TedeoreLE TAOE. 


Todpa, Kipve, kakotow, eet KacOotow Eyaupes, 355 
bs je \ , A are , ¥ 
EUTE OE Kal TOUTMY jLo“tp EeTEeBaddev Exe 

ws O€ wep €€ ayallav éhaBes Kakdv, ds SE Kal aris 
exdvvat TeLp@, Deotow emevydpevos. 


> , od \ fs > , 
Ovdéva Onoavpov taoly Katabnon apeivw 409 
.O ww yY b WEG A A b] 5 , / > 4 
avoous, y T ayalois avopac., Kupr, emerau. 


34 ELEGIAC POETS 


> XN b , 4 A 3S ¢e A 
Ovdevds av porav KQKL@V OOKEL ELWAL ETALPOS, 411 
7 4 —? y K 4 > RA ry , 
Ww YVYOPY) €7TET OL, UpVe, KQU w VVapls. 


Ovder’ 6potov Ewot Svvapar Silypevos evpety 415 
TLOTOV ETALPOV, OTM bY TLS Everte OdAOs: 
265 és Bacavov 8 éMov raparpiBopar ware povBdw 
Xpuaos, Umeprepins 0 appv eveote Adyos.’ 


TloAAots avOpétwv yhoooyn Ovpar ovK ErixewwTau 421 
appoova, Kat opiy TOAN apeAnTra peden: 
, \ \ \ , ¥ ¥ 
TOAAGKL Yap TO KAKOV KATaKElLEVOY EVOOV ALELVO?, 
270  ecOddv 8 eEehOdv Adiov 7 76 KaKdv. 


Tlavrwy pev pn dovar émrxPoviovsw apioTov, — 425 
> > “a > ‘\ > , > , 
pnd eoiderv avyas d€€os neXiov: 
, 7” - , 2A oh em 
divra 8 omws wkioTa TUAas ’Aidao Tepnoat, 
Kal KetoOar TohAnY yHv ETapnoapevor. 


275 Dioar kat Opépar paov Bpordv, 7 ppévas ecOdas 429 
evOduev: ovdeis Tw TOUTS y éereppacaro, 
e , > “A \ i b) A 3 AX eal 
@ Tis cappov eOynKe Tov adpova, KaK KaKoU Ec OOv 
ei 3 "AokAnmaddats TovTd y' €duxe Oeds, 
> a) l4 AALS \ l4 3 a 
iaoOar kakdTynTa Kal aTnpas dpévas avdpar, 
\ Ray ‘\ \ 4 ¥y 
280  moddovs av piobovs Kat peyddous Eedepor : 
> 2 # , \ » 5) \ , 
el O° Hv TounTov Te Kal evOerov avdpt vonpa, 
¥ $: Ko OS > a \ » , 
ov mot av €€ ayalov tatpos eyevto Kakos, 
mevOouevos pvor0 cadhpoow: adda didacKwv 
»¥ , N \ ¥ ar) , 
OU TOTE TOLNo ELS TOV KaKoV avdp ayaldv. 


1B. deore voos. 


THEOGNIS 30 


, WI D , 4 ¥ de / 
285 M1 trot’ €r ampyKToLoL VOoV EXE, WNOE peEvoiva, 461 
XPHPact, TOV avuats yiverar ovdEmia. 


"Aud apern TpiBov, kai cou Ta Sixata Pid’ eoTa, 465 
pnd€é oe viKdtw Képdos, 0 T aloypor en. 


Mndéva tavd’ aékovta péevery KaTEepuKE Tap NUL, 467 
\ , “4 > > - “4 Up 
2990 poe Ovpale kédXev ovK EH€dovT ievat, 
~7Q3 >) Pi | lA ‘ Y > aA e A 
BHO EvdovT Eerreyeipe, Ypwvidy, OvTiv’ av Huav 
, > ¥ \ 4 Y 
OwpnxGevr’ otve padOakds vmvos Edy, 
\ \ 3 lA 4 2c 3 4 
pnde TOV aypumveovta Kéhev aékovTa Kafevdev: 471 
Tay yap avayKatoy ypHnu avinpov edu: 
A , > a "6 XN > “4 
205 To Tivey O eVédovTL TapacTadoy oivoxXoEiTA: 
ov Tagas vUKTasS yiverar aBpa Tabety 
B44 ands , \ ¥ , ¥ 
avTap €y@— meTPoV yap exw pediNd€os olvov — 
UTvouv AvoliKdKoU pYATopaL olKad ip: 
, > e¢ > , > \ , 
deiEw O° ws olvos xapiéaoraros avdpt Tero bat, 
Pa Wan of 7 »¥ A 4 4 
300 OUT ETL VHdwY WY, OUTE inv pEeOvor. 
4 > xX € , Red , - ES la 
6s 0 av vrepBadAyn TdaL0s éTpor, ovKETL KELVOS 
TNS aAUTOU yAd@oons KapTEpOs OvdE VdoU: 
A > > 4 NX 7 4 > “4 
pvbeira 8° arddhapva, Ta vy¥hoor yiverau aioypa: 
iO A De 4 5 Ws) , 4 A , 
aldeiTa 0 Eepdwy ovdev, OTay peOUy, 
\ \ 2 \ , , , > N N A 
305 TO Tplv Ewav Gadpav, TOTE VHTLOS: aAAG OU TAVTA 
, Q A > > e r 43) 
YWOOKWY, fy TY oivoy UTEpBodadn?, 
> > KN \ , e ? “4 , @ 
ahd’ 7 mpty pevav vravicoraco — py oe Bracbw 
yaoTHp, waTe KaKov AdtpLy edypEeprov —, 
N Tapeov py ives oO eyyeEE TOUTO waTaLOV 
Pd 2 ¥ , , 
310 KaTiddes aie: Tovvera Tor weOveLs: 
e A \ -, re e de , 
n bev yap hépetar diroryna.os, y O€ TpoKeELTal, 


36 


315 


320 


ELEGIAC POETS 


\ \ A , \ > ME Ee \ ¥ 
Thy d€ Beois orévdas, THY B emt yeipds evens: 
b] A > b) 7 > 4 4, KX 
apvetobat 5 ovK oidas: avixyntos dé Tou ovTOSs, 
6s TOANAS TivwY MH TL WaTaLOV Epel. 


"Ev mupl pév xpvodv te Kal dpyvpov iSpues av- 
Opes 499 
ywaoKove , avdpos © oivos edevée voor, 
Kal LANG TEP TLVUTOU, TOV UTEP MLETPOV NpaTo Tivwr, 
WOTE KATALT YUVAL Kal Tplv edvTa aodov. 


oy , , : ‘\ 4 x a 4 > , 
Oivos mivopevos TrovAUS KaKOV: HV O€ TLS AUTOV 509 
/ b] “4 b) \ ] ree 4 
TWN ETLTTAMEVMS, OV KaKOV aAN’ ayalor. 


Xp7n Tortwav yadXerotow é€v adyeo. KELWEVOV aD- 
pi) Tohuar x y rt 
dpa, BBB 


, A > A ¥ b) , 
mTpos Te Gey aire exhuow abavatwvr. 


Kexdnobar 3 és daira, mapélecOar dé map éo- 
OXov 563 
»¥ r 7 A 3 4 
avopa ypeov, codiny Tacay émuoTdpevov ' 


325 TOV TvLLELV, OTOTAaV TL h€yy Topdr, Oppa didaxOys 


330 


\ A. > , ¥ Ye. 
KQL TOUT ELS OLKOV K€pOos EX WV Q7TLY)S- 


Todpav xpy, Ta Sid0v01 Oeot. Ovntotor Bpororcw,, 591 
pyidins dé hépey audotépwr 7d Aaxos. 


My7d€ inv yaderotow do@ dpéva pHs ayabotow 


teppOns eEatrivns, mpiv TéAOS aKpov LOeEty. 54 
TIoAA@ Tow wE€ovas hiwod Kdpos @ArEceV HON 605 


MA 74 , a) y Y 
avopas, Ooou poipys mAEtov exew eedov. 


THEOGNIS oT 


"Apxy em Wevdous piuKxpr) xapis: és de TedevTHY 607 
aicypov 5n) KEepdos Kal Kakov, aupdorepor, 
335 yiveTau’ ovd em. Kaddv, OTH WEddos TPOTOMapTY 
> \ ALS re “A > XN , 
avopi Kal e€€XOy tp@tov ao oTOmatos. 


Ovri par’ avOporos Katabvp.a mavtTa TehEtTaL 617 
\ \ é A 4 3 , 
Todhov yap Ovytav Kpéoooves abavaror. 


Ilas tis mAovovov avdpa Tie, aries O€ TEVLX POV: 621 
340 maow 0 avOparos avros evertt Vvoos. 


BovaAevov Sis Kal Tpis, 0 Toi K emt TOY VdoV EON: 633 
> \ / V4 > \ U4 
aTnpos yap To. \dBpos avnp TeheGen. 


> \ N , 3 b) / e A 
Edmis Kat Kivduvos ev avOpdmooww doctor 637 
ovTou yap xademot Saipoves apddrepor. 


345 IlohNaxi rap dd€av Te Kal édrrida yiveras eb petv 
¥ $9 w~ “~ > b | 5 rd v4 
epy avdpav, Bovdats 5° ovk éméyerto Téhos. —_640 


IloAAot rap KpnTnpe pido. yivovrat ératpor, 643 
ev d€ oTOVdaiw TPHYy_aTL TaUpOTEpoL. 


Ilavpous kndeuovas mucous evpo.s KEV ETaipous 645 
350  Keipevos ev peyady Ovuov apnyarin. 


"A Sevdy evin, Ti wots emikeevyn wf.ors 649 
TOULA KATALTXVVELS KAaL VOOV NMETEPOD ; 
atoypa d€ uw ovK eOédovta Bin Kaka moda 81da- 
OKELS, 


3 \ + ime 4 , N "eae ; ? 
ecOha per avOparav Kai Kad’ émiatdpevov. 


38 ELEGIAC POETS 


305 Mydev ayav xaderoiow aoe dpéva pnd ayabor 
ow | 657 

AS 3 so ab4e \ / 4 3 la) 

Xaip’, eel Eat avdpos Tavta dépew ayabod. 


> \ , > ¥ > (8 & \ a 1 
Ei pev xpypar exount, Lupwwvidn, ota mpiv Hoy,’ 667 
ovK av avuppiny TOUS ayabotor CUVOV 
vuv O€ pe PBS NOVI MapepXera, ett o agavos 
360 _XpPnHoovry, TOAN@V yous Pep Gpewvov TL, 
ouveka vov depouerba Kal? ioria NevKa Badovtes 
My)iov €x rovtov vixta dia dvodepyy 
avthew 8 ovk édovaew: wrepBadde dé Odhacoa 
appoTépwv Toixav: 7 pada Tis xadeTos 
, @39 ¢ 5 J , \ ¥ 
365 o@leTat, of “ Epdovot: KUBEpvyTHY pev eTavoay 
éxOdov, 6 Tis dvdakny Eixev € VOs * 
; nv €lyev ETLOTAPEVOS 
/ > 3 iC Bi / S° > aN Xr 
xpypata O apmalovor Bin, Koopos 0 amrodwder, 
daopos 5 ovKET toos yiverat Es TO WETOL, 
‘ > » \ > 3 A , 
dhoptnyot 8 apyovor, Kakot 0 ayalav Kabirepber. 
370 -: Oetpaivw, wy Tas vavy KaTa KDA Tip. 
TavTa po. yviyOw Kexpuppeva Tots ayabotor 
, > »¥ \ , x \ 42 
ywooko 6 ay TIS Kal KaKOS, HY ToOpos 7. 


Ilo\Aot mAovTov Eyovaw aidpes ’ ‘ob Se Ta Kaha 683 
Cntovow yadery Terpdpevor tevin. 
375 Eepde O appoTepoio aunxavin TapaKelTau: 
ElpyeL yap Tovs pev yprHpata, Tovs SE véos. 


Ov« €or Ovyntoio. mpds aBavarovs paxéoacbar 687 
> \ 4 > A 5 ‘ la , 
ovoe Oikny eimety: ovdevi TovTO Deus. 


1B. 76y. 2B. of 5’. 


THEOGNIS 39 


Iloh\Aovs Tor Kdpos avdpas amad\erev adpaivor- 
TAS" 693 

~ ‘\ ‘ 4 Was DS \ “~ 

380 yvovat yap yaderov pérpov, or €oOXa Tap7. 


Ed pev eyovtos euov moddot diho: Hy d€ Tu Sde- 
vov 697 
TvykUpoY, TAVPOL TLOTOV EXOVTL VOOV. 


TAjOe S avOpdémwv apery pia yivera nde, 699 
mroutetv: Tov 8 addrwy ovdeyv ap’ Hv odedos, 
3 Q5 > 4 \ ¥ c , 5 la 
385 ovd el cwppoovvny pev Exors PadapdvOvos avrov, 
mretova 8 eideins Yicvdhov Atodidew, 
date Kal e€ “Aidew Trodvidpeinow avndOer, 
4 / ¢ 4 4 
teioas Ilepoepovny aipvAtoror hoyors, 
Y A l4 / s / 
nte Bpotots tapéexyer AAOnv, Brarrovea vdovo — 
» > »¥ a , » ae , 
390  adAdos 0 ovTw Tis TOUTS y eTEeppacaTo, 
ovtiwa on Oavaroro pédav védos audixadrdyy, 
¥y a 9 \ ~ b] , 
EhOn S €s oKLEpdov Yopov aTropOipevar, 
Kvaveas TE TUAAS Tapapenberar, alte DavdvTwy 
Wuyas Elpyovo.w KaimEep avatvomevas 
395 aNd’ apa Kal KeiHev maduv nrvoe Yiovdos ypws 
5 , b ] 4 “~ y 
Es Paos Hnehiov ofyat ToAvPpoovvats : — 
+Q> > 4, \ ~ 5 lA 4 ~ 
ovd el pevdea pev Toots ervporov 6pota, 
~ y > A i > , 
yoooav exywy ayalnv Néoropos avrileéov, 
a4 - Meet , la € aA 
wKvTepos 0 einoOa mddas Taxeav “Aprruov 
400 Kal taldwv Bopéw, Trav adap ciot mddes. 
> ‘ \ / , , 7 , 
ahha xpy TavTas yvounv tavTynv’ KatabécBan, 
ws ThovTos micioTnY Tacw exe SivapL. 


1B. ravry. 


4() ELEGIAC POETS 


Dpovrides avOparav €daxov mTEpa ToiKid’ eyov- 
TAL, 729 
, A Y \ , 
pupopevar Wuyyns eweKka Kal Buorov. 


405 Lev marep, ele yévouto Oeots dita Tots péev art- 
T pots 731 
vBpw adety, Kai od TovTo yevoito didor, 
lal , ¥ \ \ - PO > - 
Juno oxeT\ua Epya pera hpecy F oats aberpys 
texvaloito, Jeav pndev dmilopevos, 
> XN ¥ , an , 9. Me Sag ie 
aUvTOV eTeTa TAAL TiTaL KAKA, NO eT dTicTw 
40 tmatpos aracbadiar Tact yévouvTo' Kakov: 
A > S32 a 2 \ \ 4 lal 
matdes 0, olT Adikov TaTpds TA OikaLa voedvTES 
A , \ . / Cys 
Towwaw, Kpovidn, adv xddov alopevo, 
5 = Aw . 7 > > A v4 
e€ apyns Ta Sikata peT acToiow didr€ortes, 
BH Tw vrepBacinv avritive TaTépwv. 
ie ¥ , A , la 2. £ \ 4 
415 TAUT Ein paKkdpecor Deois dita: vv 8 6 pev Epdwv 
> 4 N \ > ¥ ¥ , 
expevyer, TO KaKov O adXos Ererta héper. 


Kai rovr’, adavatwv Bacired, as éott dikatoy, 743 
Y 4 | ee 3 XN > TOL 
EPywV OOTLS AVP EKTOS EWV AdiKwY, 
lA 3...€ g 4 S 4 > 4 ‘ 
py Tw vTepBacinv KaTéywy pnd OpKov ahiTpor, 
> \ di DIN \ \ , 4 
420 adda dikaos éov py Ta Sikara TAO; 
, , A ¥ e A Q al ¥ 
tis dn Kev Bpords adXos, Op@v Tpds TodTOV, eTETA 
yY 9.3 , \ iA \ ¥y 
alowr adavarovs, kat Tiva Oupov Exar, 
e A Se Ne ¥ \ 3 4 »¥ 3 , 
OmmToT avnp aduKos Kal atdoOaXos, ouTe Tev avdpds 
oure Tev dDavarwv phvw adevopevos, 
e lA 4 , € \ 4 
425 UBpilyn mOVTM KEKOpHMEVOS, Ot OE SikaLot 
TpvXOVTAL YaheTH TELPopeEvoL TEVIN; 


1B. yévoro. 


430 


435 


440 


445 


450 


THEOGNIS 4] 


Tatra palav, dir’ ératpe, dikaiws ypymwara mo.od, 753 
4 XN ¥ 3 XN > 4 
caédhpova Ovupov exwv ExTos atacOanins, 
~ Sei’ “~ > Sp , - 3 \ / 
aicl TOVO ETEWY LEeUVNMEevos: és Sé TeAEUTHY 
> , , , / 
aivyoes pv0@ cddhpovr trevOdpevos. 


Zevs pev THASE TOANOS viretpexot, alfépr vaiwrv, 757 
aiet Se€irepyy yep er TN LOT VV, 
ado. T aPdvaror paxapes Deoi- avrap “Amo\\wv 
6pbaca yoooav Kat voov HmeTEpor. 
poppuyé 6 av pbéyyou? iepov pédos noe Kat av- 
hos: | 
e La) \ % ww 5 4 
npets Se orrovdds Deotow aperodpevor 
- , > >] 4 - 
TIVOLEV, YaplevTa eT AAANAOLOL €EyorTes, 
pnoev Tov Myjdwv Sed.dtes TOAEMOr. 
@a> »¥ 4 e , \ ¥ ; 
@O €in KEV apevov: duodpova Oupov exovTas 
vood. pEepivawy evppoovvws dud-yeu 
TEPTOMEVOUS, THOU TE KAKAS ATO KHpas apuvan, 
A , > ] 7 a A 4 , 
ynpas T ovhdpuevov Kal Pavdro.o TéXos. 


Doi Be avak, abros pev Ervpywoaus Tod akpHny, 773 
“Adkaldw IléXomos tradi yapulopevos: 
2% \ ‘\ 4 \ 4 > U4 
avTos d€ oTparov vBpioTny Mydwv amépuKe 
A , 74 ki > , 
Thode TOdEVS, Wa wou aot Ev eVppoovvy 
Npos ETEpKXomevov KeiTAs TEUTIOSD ExaToUBas, 
: id , > 3 + 29 A , 
TepTopevm Kappy T aud’ epatyn Gadi 
Tavaciv TE Yop@v layynot Te cov TEpt Bapov: 
ee 5 7% > 9 Sf bic ” 
nH yap eywye O€doiK adpadinv ecopov 
Kat oraow Edjvev KaodOdpov: adda ov, PoiBe, 
4 e , 4 : 4 4 
thaos Huerepny THVdE dvAaG CE TOLD. 


42 ELEGIAC POETS 


"H\Oov pev yap eywye Kat €s LuKeAHy ToTE yalav, 783 
nrOov & EvBoins aprredoev trediov 
, > b] 4 4 > \ » 
455 Laaptynv T Evpera dovakotpodov ayhadv actu: 
Kal p edidevy Tpoppovas TAavTEs ETEPYOMEVOV : 
) > » , o's , 5 re 
add’ ouTis pot Tepes Ert Ppevas HOE Exeivwr. 
Y SQA ¥ > 4 , » , 
ovTws ovdev ap HY pidtepov adXdo Tarps. 


> \ > “4 yoy » , 
Ovdels avOparwv ovT ExoeTa ovTe TEPUKED, 801 
Y A c \ , b] 3 he 
460 OoOTLS Tao adav dvoeTaL Eis Aidew: 
> \ \ ca) A \ > / >] , 
ove yap Os OvyTotor Kat alavaroow avacoe., 
‘ a A ¢ la) 
Zeds Kpovidns, Ovytois Tacw adeiv dvvarau. 


, \ l4 \ , »¥ 4 
Topvov kai ordOuns Kal yrapovos avdpa Jewpév 
> 4 4 4 , , 
edOvTepov pe xpy, Kupve, dviacoguevar, - 806 
465 oTTL Kev ev IlvOavi Geos, ypynoas Lepein 
b] 4 6 lA 3 > 4 
dudhyv, onunvy miovos €€ advrou- 
ieee le \ \ 2Q 7 >» , sa 
ouTe TL yap mpoobeis ovdey Kk’ eT dapyaxkor Eevpots, 
¥ 3 > \ \ “~ > , 4 
ovT adedov mpos Deady authakiny mpopvyots. 


Kv > ¥ 4 a A A 5) y ? € 4 / 
py, eumns o TL potpa tabeiv, ovk eo viradv- 

Eau: 817 
470  OTTL O€ potpa mabey, ov. d€doLKa paleiv. 


aA + SRW \ 4 > 4, A 
Ot 5 amd ynpdoKovtas atiwalovor ToKHaSs, 821 
, , 4 > > 4 , 
TovTwy Tor xwopn, Kuvpv’, ddiyn TedeOe. 


"ANN Grrotav Kabvmepev Eov UmevepOe yevyntat, 843 


, ¥ >» , , 
TOUTQKLS OLKaO LJLEV TAVO AILEVOL TOOLOS. 


4175 Aa€ ériBa Sypw keveddpov, tune SE KEVTPH —-84T 


d€el, Kai CevyAnv dvcdodgov auduriber: 


480 


485 


490 


495 


THEOGNIS 43 


ov yap €7 evpynoers Snwov dirodéoToTov wdE 
avOpamwv, oTocous nédvos Kafopa. 


Zevs avdp e€orecevey ‘Ovptrios, Os TOV ETALpoV 851 
padOaka Kwriirdwv e€atratrav eOédeu. 


Tov dé didrov ei wey Tis Opa pe TL SeLAdy EYoVTA, 857 
> -~ > 2 , FEAXT-- 3 A 3 4 
avyev aTooTpewas ovd exopav €Bé)eu- 
x 2 7 4 3 “4 a , 7 3 4 
nv O€ Ti pot Tolev EcOdOv, a TavpaKe yiverar avdpi, 
\ > ‘\ N , ¥ 
ToXovs aoracpous Kal PidoTyTas EX. 


IloAAots aypyorouct Beds did0t avdpaciv ohBov 865 
3 és a y 3 > A , b) \ 3 7 
éxOdov, 6s out avt@ BéATEpos ovdev Ewv 
x lA > ~ \ , 4 + 3 93 A 
ove pious: aperns dé wéeya Khéos ovmor dXetrau’ 
ALYLYTHS Yap aVNp yHv TE Kal GOT OaOL. 


“Ep pou ereita Téoou péyas ovpavos evpvs vireplev 
xadkeos, avopadrwv Seiwa yaparyevewr, 870 
El UY EVO TOLoLY eV ETAPKETW OL ME PiEvoL, 
tois 0 €yOpois avin Kal péya why eroman. 


HBa pou, pire Oupe: Tay’ av Tes addrou EvovTat 877 
+ b) \ \ \ A , > » 
avopes, eyo dé Oavav yata peda’ eoopa. 


Ilty’ otvov, tov é€uot Kopudys vio Thvyérouo 879. 
»¥ yy \ 3 , 3 ¢ 4 
aumedou NveyKav, TAS Ep’TEVT O YEpwV 
» ; A 
oupeos ev Bnoanot, Jeoiar hidos Bedtipos, 
A y 
€k TAATAVLGTOUVTOS WuYpoYV VOwp ETaywv. 
“A a > ‘\ \ \ , , 
TOU Tivwy amd pev YaheTas oKEddces pehedovas, 


500 Owpnxeis 8 Exeas TodAdy ELadpdrepos, 


44 ELEGIAC POETS 


Epyvy Kat TAOUTOS EXOL mos oppa peT a\dwv 885 
Kopacoum.’ Kakov 0 ovK epapat Todeuov. 


¥ e A yd e 5 > 4 Y YY 
Koti 0 Mev KELP@V, O 5 ALEWWV EPYOV EKADTOV* 1 
5 A > b] , b) \ Y 4 
ovdeis 0 avOparav avTés atavta copes. 


505 My mor érawnons, mply av eidns avdpa rapy 
vEWS, 963 
y \ \ , Y > » 
dpynv Kat puOwov Kal TpdOTOV OVTW Exel. 
TodXot Tor KiBdyAOL ErrikdoTroy HOos EyovTeEs 
, > 3 VA \ 3 , 
KpvUTTovo , evOeuevor Ovpov epypepror. 
tovtwv 6 exdaiver TavTws ypovos HOos Exdorov. 
\ BG, , \ dee He RR, 
510 Kal yap €yw@ yvauns TohXdOv ap ExTOs EBnv: 
epOnv o aivyocas tpiv oov Kata TavTa Sanvar 
¥ A > 4. Paee Ochs Ty ee pe 5 , 
nea: vov 3 non vas al” Exas di€yo. 


Ovdets avOpdétwr, ov Tory eri yata Kahin 973 
es T “EpeBos KaraBn, dapara Hepoedoviys, 
B15 Tépretas oure hUpns ovr avhnrnpos aKoven, 
oute Avwrvcou Oa pov deupopevos. 
‘TavT Exopav Kpadin eb TEicopaL, Opp er eLadpa 
yovvaTa Kal Kepadny arpenews tpodepo. 


M7 pou avynp etn yrocoy pidos, ddNa Ka Eepy: 
520 xepolv Te orrevoELY XpHpaci T, auPdrepa: _—980 
pnoe rapa KpyTyp. hoyourw éeunv ppéva Hédyors, 
add’ epdwv dhaivor, et Tr dvvar’, ayabov. 


‘Hpets 8 é€v Oadinor dirov Katrabdpeba Oupov, — 983 
opp eT, TepTadns Epy Eparewa hépn. 


525 


530 


535 


540 


THEOGNIS 45 


> Q y , V4 > \ ¥ 
aiba yap woTe vonua TapepxeTar ayhaos nBy- 
ovd imTwv Opuy yiverat wKuTépn, 
9 ¥ , , 3 , > A 
aire avakta pépovot Sopvaadov €s Tovov avdpov 
hdBpas, tupoddpe Tepro6pevar TrEdio. 


Euvov 8 avOparos vro8yoopa, oppa tis 7Ba 1007 
b ) AQ y+ ¥ \ A 3 as wn 
ayaov avOos exwv kal dpecw eco. von, 
TOV AUTOU KTEdVaV Ev TaTKXE“EV’ Ov yap avynBav 
5 , \ A ASB , , 
is meAerau pos Dewy ovde vats Gavarov 
Ovnrots avOpa@root. KaKov’ o emt ynpas éhéyyxer 
> / ~ HF > , 
ovAdpevov, Kehadyns 0 amTeTat aKpoTarns. 


c eAs lanl 3 > v4 v4 
Pyidin ror mpnéis ev avOpe@mrois KaKOTHTOS* ~~ — 1027 
tov 0 ayalov yahery, Kupve, méher trahapy. 


Todpa, Oupé, Kakotow opuas atdyta memovOds: 1029 
deh@v To Kpadin yiverar d€uTEpy ° 
\ , ay D V4 he ¥ +7 
pnoe ov y ampyKtovow em epypacw adyos ae€wv 
»” > » \ 4 _ yes 
oyBa, und ayOov, unde hirovus avia, 


pnd €xOpovs evdpaive. Oedv & cipappéva dopa 


545 


b) Ey) € eQ7 \ aS , 
ovK ay pyidios OvnTos avnp mpodvyo., 
¥ > HR : Mc aa ee , , 
ovT av Toppupens KaTadvs és TVOuEeva Nipvys, 
4f)> p etl. ¥ la > , 
ov? orav avrov eyn Taptapos Hepdets. 


¥ gy A 
Avdpa Toi €or dyabdv yaheraratov éararnoat, 


e 3 > ‘ , 4 4 4 

@s Ev E“ol yuoun, Kupve, maha KeKpuTat. 1038 
¥ yy \ , Y > 
Adpoves avOpwrrot Kat viol, olTWwes olvoy 1039 


pn Tivour aot pov Kat KUVOS apxowevou, 


1 B, xaddv, 


~ ti 


46 ELEGIAC POETS 


A“ \ 
Nov pev mivovtes TepTapea, Kaka h€yovTes: 1047 
Y >» >» A A 
550 aocoa do emeT eoTat, TavTa Oeotor pede. 


\ - ie J : @?/ \ \ € , > ray f 
Lol 8 eyo ofa re maLdt TaTHnp VToOncopat avTds 1049 
éeoOia: ov 0 ev Ove Kai dpect tadTa Badev: 
, 293 , ue. one SORE \ , 
py WoT eTrevyomevos mpHEns Kakov, adda Baleiy 
an Q , m~ 5 ~ , 
on dpevi Bovrevoa o@ ayale@ TE vow. 
555 TOV yap patvonevwv TéreTar Oupds TE VOOS TE, 
A b ] 3 > \ N , 3 ‘\ =A 
Bovdy & eis ayabdy Kal voov éo for aye. 


Tipaydpa, ToAd@v opynv amarepev opavri 1059 
ywooKe yaheTov, Kalmrep EdvTL TOPa. 
Ol pev yap KaKoTNTA KaTaKpipavTEs EXOVT LW 
r 4 \ > b) \ yA. , , 
560  mAovT@, ToL O apeTHV OvAOMEVY) TEVIN. 


¥ ¥ \ , 7 , 
Adpoves avOpwrot Kat vaio, ore PavdvTas —_ 1069 
kdalove’, ovd HBys avOos amod\dvpevov. 


Ovdéva Tav €xPpav pwpnooua eoOdov €ovTa, 1079 
> \ \ > - ‘\ 37 “4 
ovoee prey aivnow Sevdov edvta didov. 


565 OuTw yp7 Tov y eoOdov EemioTpepavTa vonua 1083 
¥ - lp y 5 , 5 A , 
€p.7r€OOV QUEV EXELV ES TENOS avodpt piro. 


Kdorop kai ToAvdevxes ot ev Aakedaiporve din 1087 
Pe ae b , / 
valet eT Evpara kah\tpow TroTapo, 
t t t 
¥ 4 , / ba y 
eu mote BovAevoair Pii@ KakOV, AUTOS EXOLWLL' 
> lA a 3 , \ l4 Jeni. ¥ 
570~—s el O€ TL KELVOS epol, Sis TOMOY avTOs EYoL. 


1 B. xpéos. 


THEOGNIS 4'7 


"TBpis kat Mayvytas amodece kal Kortodava — 1103 
\ , , , \ » - a. a) 
Kat Swvpvynv. mavtws, Kvpve, kat vup arrodet. 


Pe ¢ , >> \ A > , . " \ 
Kupyv’, ot tpdac8 ayalot viv ad Kakol, ot d€ Kakol 
T piv | | 1109 
“A 3 , & a Aas 4 s--3 ~ 
vov ayabot: Tis Kev TAUT avexoLT Exopar, 
575 Tous ayalous pev aTiwoTEepous, Kakious dé haydvTas 
TULNS; pvnoTever O Ex Kako eoOOs avyp. 
addydous 0 ararovtes én addAjAoLTL yeAouw, 
ovT ayalov prvyuny ElddTEs OUTE KAKOD. 


A A / Me , , 
IlXovre, Gea KkahMoTe Kal iwEepoeotare TAaVTWY, 1117 
‘\ \ \ \ x / 3 XN > 4 
580 GUY GOL Kal KaKOoS wav ywerar ExONOs avyp. 


“HBns pérpov exon, hidrot dé we BotBos *Amdd\wv 
Anroidns Kai Zevs, dDavatwv Bacrrevs, 1120 
ad iz , ~ ¥ c 4 
oppa Biov Cao Kakov extoobev aravtwr, 
9 \ 4 \ > l4 
nBy Kat tAOVT@ Ovpov tavvdpevos. 


585 My pe Kakov pipvyoKe: iémovld To oid 7 ’Odva- 
oevs, 1123 
oot Atdew péeya Sop’ nrubev eEavadds, 
a or ‘\ ~ b] , fee “~ 
Os On Kal pynoTHpas aveidero vyr€ét Oupo 
IInvedorns eudpav Kovp.dins addyou, 
n pv On? wréepeve dito rapa radt pévovca, 
» A 3 2 , , 
590 «© oppa Te yns ETEBy Setpwad€ous TE pvyoUs. 


"Edis €v avOparros povvyn eds eo OAV) Eveortiv, 1135 
addor 0 Ovdupmdvd’ éxmpodurdrtes &Bar: 





48 


595 


605 


610 


ELEGIAC POETS 


+ \ Wié aN Q / »¥ S b) 5 lal 
@xeTo pev Itoris, weyadn eds, wyero 8 avdpav 
4 , v4 > 5S , A ¥ 
Lwppoovvyn: Xapirés 7, @ hide, ynv €durov: 
Y > b) 4 > We 3 4 4 
Opko. 0 ovKéTi-moTol ev avOpamo.or Sikarot, 
> )" ‘ > ‘ Y b] 4 
ovoe Heovs ovdels alerar aBavarovs : 
evoeBéwv & avdpav yévos ebbitar, ovdé Oguotas 
OUKETL YLVM@OKOVT OVE eV EVVOLLaAS. 
ahd’ oppa tis Code Kal Opa hdos jediovo, 
> lA \ ’ > tA “4 
evo eBéwv rept eovs, “EXrida mpoopevera, 
evxomevos TE Jeotor, Kat dyad pnpia Kaiwr 
"Edrids Te Tp@TH Kal TULaTyH OvETw. 
c l 
> a) 
ppalécbw & adikwr avdpov oKoddv ddyov aiet, 
A “A > 4 b] \ > , 
ot Gedy abavatar ovdev dmCopevor 
3A > BT ES, v4 4 5 3 / 
alev em ahXoTpios KTEaVOLS ETEYOVGL YONA, 
> \1 na» , , 
aloypa KaKkols epyous cvpBoha Onkdpevor. 


M7 wore Tov wapedvTa pellets didov addov Epevva, 
daov avOpdrwv pyuact mevOdopuevos. 1152 


OvK €epayat movte ovd evxouar, adAd pow 
ein 1155 
~ > ‘ ~ > , \ + / 
(nv amo THY dXdiywv, pndev EyovTt Kakov. 


> 4 \ ? > » 
Ovdéva Onoavpov Katabnoew macy apewov: 1161 
aitovow 8 ayalots avdpdot, Kupve, didov. 


Tvapnv, Kipve, Geot Ovyntotar Sudovcev apiorov: 1171 
avOperos yroun Téipata TaVTOS EXEL. 


1 B, écOAd. 


615 


620 


625 


630 


635 


THEOGNIS 49 


@ pakap, ooTis Oy pu exer Ppeciv: H ToAV Kpeio- 
Twv 3 
vBpios ovAopEevyns hevyad€ov TE Kdpov 
€oTt: Kakov 0€ BpoTotot Kdpos, THY OUTL KaKLOV: - 
Taga yap eK TOUTMV, Kupve, 7éher KAKOTYS. 


ole ¥ > A . \ rig , 
Et K etys epywv alaoypav amabyns Kal aepydos, 1177 
Kupve, weyioTny Kev Teipay Exous aperns. 


Kupve, Jeovs aidov Kat deidu0- TovTo yap avdpa. 1179 


eipyer unO epde pre Néyew aoveB7. 


Anpodayov dé Tipavvov, orws €Bédes, KaTaKNivat 
ov veweois mpos Oewv yiverau ovdepia. 1182 


Ouris atowa did0vs Pavarov diyou ovde Bapetay 1187 
dvoTvyXinv, El py pmotp emt Téepwa Bador. 
»9Q>3 KN , bd \ \ ¥ , 
ovo av dvadpoavvas, ore 5x Deds adyea wEuTroL, 
Ovyntos avynp SHpors BovdAdpuevos mpodvyor. 


> ¥y ~ of 3 ~ 
OvK epapar ko p@ Baciryiw éykataketoOar 1191 
, 3 rs , a , > 3 , 
TOvews, add Ti poor CovTi yevort ayabov. 
b) , Eee c A la , 
aomahafor d€ TaTnow Spotov oTpopya Bavovtu: 
‘\ 4 x \ , x , 
TO EVNov } TkKANpOoV yiverat, 7 pahakov. 
Myre Geovs eriopkov éemopvul- od: yap avvaror 1195 
2 4 4 “A b] , 
abavarous Kpiibau ypetos dperAdpevor. 


“Opvifos pavyv, Modvraidy, 6€0 Bodons 1197 
novo, nte Bporots ayyehos HAP apdrov 


50 ELEGIAC POETS 


4 4 of 4, 3 , , 
Wpaiov: Kal wou Kpadinyv érarake pédawvar, 
” p) A ¥ ¥ > , 
ort. pou evavbets addou Exovaww aypous, 
> , e , , 7 bd , 
ovde LoL Nuiovor KUpwv EAKovoLW apOTpoV, 
640 THS pada pons * ElveKa vavTirins. 


Ovser, Kipvr’, dépyns adiuxdrepov, 4 Tov ExovTa 1223 
Thpaiver, Oup@ Sera yaprlopevy. 


Ovdsev, Kupy’, ayalns y\uKeparepov éote yuvaikds: 
644 paptus eya, av O Euol you adynfoavvyns. _— 1226 


1B. &\Ans pvnorfs. 


IAMBIC POETS 


ARCHILOCHUS 


Archilochus of Paros flourished apparently in the earlier 
part of the seventh century s.c. He enjoys the distinction 
of being the inventor of iambic verse, which means, prob- 
ably, that he introduced definite principles into this style 
of writing, and first gave it its standing in literature. The 
ancients lavish upon him their praises from every side, com- 
paring him with all the immortal leaders of Greek song, and 
sometimes giving him the supremacy among them all. He 
was descended from a priestly family of noble standing, but 
connected himself prominently with a colony which emigrated 
from Paros to Thasos. The expedition ended, however, in 
disappointment; and he returned, after many wanderings, to 
his native island. He lost his life in an engagement between 
the Parians and the people of the island of Naxos. It is 
said that a curse was pronounced by the Delphic oracle upon 
the man who killed him, as having “slain the servant of the 
Muses.” 

The history of Archilochus is manifestly incomplete with- 
out the story of Lycambes and his daughters, not because we 
can vouch for the details of the narrative, but because it illus- 
trates the Greek feeling with regard to the poet’s power. The - 
poet was betrothed, according to the popular tradition, to one 
of the daughters, Neobule; but suddenly the father turned. 
against him, and rejected his alliance with scorn. The indig- 
nation of the poet found utterance in his verses, and he turned 

be 51 


52 IAMBIC POETS 


his satires without mercy against the offending family until 
they sought refuge in voluntary death.- 

The chief distinction of Archilochus, as we have suggested, 
_ was the invention or development of iambic verse. Such are 
the iambics which follow in VIII and IX, and closely allied to 
them are the trochaic tetrameters X—XIII. For the so-called 
iambic trimeter, see 8. p. 84; G. 1658; HA.1091. For the tro- 
chaic tetrameter, see 8. p. 84; G.1651; HA.1083. See further 
on iambus and trochee, 8. pp. 24, 26, 30.. Archilochus wrote also_ 
elegies as well as other forms of poetry. 


EAETEIA 
I (1) 
Eipi 3 éyo@ Oepatwr pev “Evvaliovo avaxros, 
kal Movoéwv €parov S@pov éemucTdpevos. 
| I @) 
> \ , A , 3 . a 9 
Ev dopi pev pou pala pewaypevy, ev dopt 8 otvos 
3 4 / » a \ 4 
IopapiKkes, tivw d év Sopt Kexhupevos. 
III (4) 
"ANN aye, ody KdIwr Oons dia oeApata vyds 
# \ ld , > » 4 
doita kal Koi\wy Tepat adedke Kddwr, 
¥ > 4 5 ‘ 9-2 , 2QA A ea 
aype. 0 oivov épvO pov amd Tpvyds: ovde yap pets 
, = Tee nA , 
vypeav ev drrakyn THE SuvynodpeOa. 
IV (6) 
“Aomids pev Latwv tis ayadderar, Hv Tapa Odpry 
¥ 3 , 4 b) > la 
EVTOS AuounTov KadXuTov ovK EFéhwr: 
. pees. ee 4 , , > ‘\ 3 7 
autos 6 e€épuyov Oavarov Tédos: aomis exeivy 
EppéTw* €€avTis KTHTOmaL OV KaKiw. 


ARCHILOCHUS 53 


IIPO> ITEPIKAEA 
V (9) 


Kydea pev orovderta, [lepixiees, ovd€ Tus dor av 
peudopevos Oadins Tépberar ovde mods: 
7 \ \ ~ lA , 
Tolovs yap KaTa KUpa ToAvPAoia Boto Garkaoons 
¥ oN iO r 4 > b] > 40 4 ¥ 
ex\uvoev, ol0ad€ous 0 aud ddvYNs EXoLEV 
5 mvevpovas: ada Deol yap avyKéoToios KakoLoW, 
oy 4\ 3 5 of \ , ¥ 
@ Pid, ETL KpaTepyVv TANMoavYHnY erav 
, ¥ > » ¥ , A \ 3 
papmwakov: addote 5 addos exer TadE: vov pev és 
e , 
Npeas 
3 V4 > e “4 4aQ> ¢ 5 . 7 
etpamel, aiatoey 0 EAKoS avacTévoper, 
3 la ie SF 3 , > \ , 
e€avtis 0 erépous éemapetiberar: adda TaXLoTE 
10 TANTE yuvatketov TEVOOS aTwadpeEVoL. 


VI (10) | 


Kpvmropev 0 avinpa oceddwvos avaKxtos 
bapa. 
VII (13) 
Outre Tt yap Kaiwr ivcopar ovTE KaKLOV 
Onow Teptadas Kat Oadias edérov. 


IAMBOI 
VIII (21) 


“Hoe 8° wor’ ovov payts 
4 yY > 4 3 la 
eoTHnKev VANS aypins emiaTEdys 
3 , N A »Q> 3 , 
ov yap Tt Kaos y@pos ovd edipepos 
10. 3 , e > \ / e 4 
OVO EPaTos, Olos audl Lipios poas. 


o4 


or 


IAMBIC POETS 


IX (25) 
Ov po. Ta Tvyew Tov Todvypvcou péreu, 

202 ae , A 299 9 , 
ovd thE 7H pe CHAOS, OVS’ ayaiona 
Jeav Epya, weyadys 8 ovk épéw Tupavvidos : 
> / , > b) “A b] a 
amompolev yap eat dP0arpav euov. 


TETPAMETPA 
X (56) 

Tots Deots Tifa Ta TavTa: TwoddKus pev EK KAKOV 
+ > A 4 , « Coe , 
avdpas dpHovow pedaivy Keupevous emi Gori, 
TohAaKis 0 avatpérovet Kat pad’ ev BeBnkoras 
e , , > y \ 4 l4 
vmTlovs KAwova: emetta TOAAG ylyvEeTal KaKa, 
Kat Biov xpyuyn TravaTa Kal vdov TapHopos. 


XI (58) 

Od diri€w péeyav orparnyov ovdé SiatremALypevor, 
ovde Bootpvyo.ct yadpov ov’ vreEvpypevor, 
GNA wor opiKpds TLS EN Kal TEPL KYHpas LOELY 

e , bd - \ t ol ¥ 
poikos, aodadréws BeBykas Tooot, Kapdins Téos. 


XII (66) 
4 ° Pe U4 . 4 lA 

Ovpd, Ody’ apnydvoror Kydeow KUKOMEVE, 
ava 5€,' duvapevav 8 adeEev poo Badrov évaytiov 
orépvov, €v:doKkoiow €xOpav mrynciov KataoTabeis 
aohaéws: Kal yTE vikaV audadnv ayaddeo, 
pnre vixnleis ev olkw katatecov ddvpeo: 
aha yaproiriy Te yalpe kal Kakotow aoyaha 

\ , , > e& ¢e ‘\ > A 4 ¥ 
pn Ainv: yiyvacke 8 otos puapos avOpwrovs Exel. 


1B. évddev. 


SIMONIDES:- OF AMORGOS 59d 


XIII (74) 


Xpypdrov dehrrov ovdev €orw ovd' amrdmoror, 
ovde Oavpdovov, eredy Zeds taTnp ‘Odupriov 
b ] is ¥y 4 pe, Es 4 , 
ex peonuBpins Onke vixt aroxpipas daos 
HArlov Adpovtos: Avypov 8 HP’ ex’ avOparovs déos. 
5 €K O€ TOU Kal TLOTA TaVTA KaTehTTA ylyveTaL 
> , \ yf,> e¢ A > aw , 
avipdow: poets €0 tuav eioopov Oavpaleéra, 
> ¢ A ~ 3 , , 
pnd orav Seddior Onpes avtaperpovTar vomov 
3 ld 4 , > , 4, 
évddov Kai odiv Oartaoons nYEeevTa KUpaTa 
, 2» 9 , , a > eQ\ > » 
didrrep’ nreipov yerntat, Toto. 8 Adv Hv Opos. 


SIMONIDES OF AMORGOS 


Simonides of Amorgos was a native of Samos, but, like 
Archilochus, left his native island with a colony, which, 
settling in the island of Amorgos, gave to the poet his desig- 
nation. His life belongs to the seventh century B.c., but more 
definite dates cannot be verified. 

In their poetry also Simonides and Archilochus were much 
alike. The former is, however, more fond of moralizing and 
dealing in maxims, performing in spirit something of the office 
of the gnomic poets. The poem upon the origin of the differ- 
ent classes of women has always been justly regarded as an 
interesting curiosity. The dialect of Simonides, like that of 
Archilochus, is Ionic. In the arrangement of his measures 
Synizesis is very frequent.. 

The meter is the common iambic trimeter. 


ji 
"O, mat, TéXos prev Zevs exer BapvKtutros 
, 9 >» Ce ge 7 ¢ av - 
TaVvTwWV Oo Earl, Kat TIOHO omy Oéhe- 
voos © ovk er avOpoeroow: add’ epjpepot 


56 


10 


15 


20 


IAMBIC POETS 


ad 51 Bor aiet Caper, ovdev €iddres, 
OmTws exaoTov exTedeuTHoeL Oeds. 
3 \ + U4 > \¢ lA 
édmis O€ wavras Kamimeein TpEeder 
GTPHNKTOV OppaivovTas* ol pEev HMEpHV 
4 b] “a e 2's , 4, 
pevovor éOetv, ot O° éréwy Twepitporas. 
l4 b - \ 4 b) , a 
véwta © ovdels GaTis ov Soxéan Bporav 
trovTw Te Kayablotow tEerOau Téov. 
hbdve dé Tov pev ynpas alyndrov haBor, 
Tp Téep ikytaL: Tous d€ S¥aTHVOL VdTOL 
bbeipovor Ovytov: Tovs O “Ape: Sedunpevovs 
4 4 > aA ¢€ \ , 
Teutrer pedaivns “Aldns vid yOovds: 
ol 0 €v Oaddoon Aaidam KNovedpevor 
\ 4 A a 7 , 
Kal KUpacL ToAdoLot Tophupys ados 
OvnoKovew, edt av ev SuvyowvTar Coe: 
e wre. V4 4 2 , 
ol 0 ayydvny afpavto dvaTHV@ Ldpa, 
b] , 7 e , , 
KauTaypeTo etrovoww HALov daos. 
4 A yY 3 ES A > \ 4 
OUTW KaKOY am ovdev: AANA puUpPioL 
Bporotot Knpes Kaverridpacro. Svat 
\ , > 3 , > 3 \ , 
Kal mhwat eativ: el 0 euot mOoiaro, 
b] XK “ 3 ~ > END. 490 50 
OUK GY KaK@V Ep@pev, OVO Ee adyeow 
Kakots exovTes Ovpov atkiloipeia. 


II (7) 


‘\ be \ 3 4 l4 

Xwpis yuvarkos Feds eroinoev voov 
TA TPOTA* THY pEev EE VOS TAVUTPLXOS, 

an , >> > 4 4 , 
Tn wavtT av oikoy BopBopw Teduppeva 
GkKOO La KEtTaL, Kal KVAIVOETAL Yamal: 

> \ Q ¥ 5) , 58 Y 
avTn © adouros amAvTous T EV ElwacLY 


, 
EV KOTPLNOW NEV TLALVETAL. 


10 


15 


SIMONIDES OF AMORGOS 57 


Thy & €€ adurpys Oeds On’ adorexos 
yuvatka, TaVT@V Lop: OvdE PLY KAKOY 
édAnDev ovdev, odd TOV dpevovar. 

N \ ‘ > peony. S , / 
TO Pev yap avTwv eime TOANAKLS KaKO?, 
70 0 €oOddv: dpyjv & addor’ adXoiny even. 

Thy & €k Kuvds Nitapyov, avTropynropa, 
a , tea “~ “4 > LO 4 Q 4, 

N TWAVT AkovoaL, TaVTA O Evoevar Heder, 
TavtTy S€ Tantaivovaa Kal Thavapern 
hédAnkev, Hv Kat undéey avOparwv spa. 
v4 > ¥ ¥ 2.9 ? b] eS 
mavoee O AY py OUT aTELAyoas avip, 


ovd el yodwbeis eEapdteev idw 


A GD 4 2Q> KX , , 
dddvTas, ovd av peliyws pvledpevos, 


20 


25 


30 


~ 39 > \ , e 4 4 
ovd el Tapa Eeivorow Huevyn TYXOL: 
b) > 3 a + > \ ¥ 
ahN’ EuredOs amrpyKTov avovny exe. 
Thv d€ thadcavtes ynivnv "Odvprror 
y > \ , ¥ \ 4 
eOwKay avopl TNpdV: ovTE yap Kakor, 
Fe 3 ‘\ > \ > , V4 
ovt é€oOddv ovdev oide ToLavTy yuvn, 
¥ \ A 3 /, > , 
épyov d€ povvoy éeobiew ériotara.: 
KOvO NV KaKOV YELL@va ToLHoY Oeds, 
€ A / Ss y 4 
pryooa Sidpov dacov €EdKeTau TUpds. 
Thv & &k Oaracons, 7 Sv ev dpecty voet: 
THY meV yEera TE Kal yeyynDev Huepyv : 
b ] , A b] , b , 
eTrawverer pv Eetvos €v Odors LOwv: 
“OvK eotiv addy THOSE Nwiwy yuvy 
3 ~ > , > \ lA 99 
ev Taow avOparoo., ovde KahXiwv. 
‘\ ? bd > \ pee, a > a iO A 
Thv & ovK aveKTos ovT ev ddbahpols idety, 
dh 3 a) > \ 4 4 
out dooov edetv, dd\Aa paiverar TOTE 
¥ 4 b] \ , 4 
amAnTov, WaTEp aut TEKVOLTLY KV@V* 
> , A A > 4 
amethiyos O€ mac. KatroOupin 


58 


40 


45 


50 


55 


60 


IAMBIC POETS 


3 A 3 \ , s 

€xPpotow toa Kat pidovor ylyverac. 

Y ld / \ > , 

wotep Oddaooa TodNaKis pev aTpE“NS 

EOTYK ATHLOV, KAPHA vavTYOW péeya, 
, 3 4 , \ , 

Bépeos Ev wpyn, Toddakis O€ paiverar 

Bapukritovon Kaci PopEevpEVy ° 

TAUTN PANLOT EOLKE TOLAVTY yuVy 

3 , \ \ 'é 3 4 ¥ 

dpyyv: huny de movTos adXoinv eye. 

Tiv 8 &k re orrodeins ' Kat mahuvTpiBéos ovov, 
H GUY T avayKy oOvY T EviTNOW poyts 
exTepfev OV ATAVTA Kal TOVHTATO 
3 f / S > , \ 3 ”~ 
apecta: Toppa 0 eoOie pev ev pvX@ 

, ~ 2 Va a) 3 TRS , 
Tpovvé, mponpap, eobia 5 em éxxyapn: 
e A \ \ \ y 3 , : 
6pas Sé Kal mpds epyov adpodictov 
EM6vP Eratpov ovtivav éd€EarTo. 

Thy & €k yadns, dvarnvov oilupov yévos. 

/ \ nA 3 3.89, 3 .-/ 

Kelvyn yap ov TL KadOv ovd Erripepov 
TPOTETTLY, OVOE TENTVOV, OVD Epa mor ° 

5 A » ee. | b ] >] v4 
evvns © adnvys €ativ adpodioins, 

‘ > » ‘\ w. , A 
Tov 0 avdpa Tov TaporTa vavain S600: 

V4 > ¥ ‘\ / U4 
khértovoa 8 €pde ToANG yeiTovas Kaka, 
abvora 8 ipa woddaks Kater Oie. 
\ 79 ¢ \ /, | / 

Tyv 5 tmmos aBpy xaitéeoo éyeivaro, 
a by Oe ad \ 4 “4 
n Sovr\u epya Kal d¥nv TeEpiTpeTen: 

YK 4 , =A , 
KOUT ay pvdns WavoeElEev, OVUTE KOO KLVOV 
¥ ¥ , 5 ¥ , 
apevev, ovTe KOTpov €€ otKov Badot, 

¥ ‘ b ] l4 b] / b] , 

OUTE TPOS iTVvOV, aa BoAnv adevpern, 
Y > b] ld > A 4 
ior’: avdyKy 8 avdpa trovetras didov. 
hovrar d€ TaoNs HMEpNS. ato pvTOV 


1B. redlovns. 


65 


70 


75 


80 


SIMONIDES OF AMORGOS 


dis, AANOTE Tpis, Kal pUpots adeEidheran: 
aici d€ yaiTny exteriopevyny hopet 
Babetav, avOgyorow eoKiacpernp. 

\ \ S 2 , , 
kadov pev av Oénwa ToravTn yuvy 
ad\ourt: THO EXO f ) 

ola: TWO EYXOVTL yiyvEeTaL KAKOD, 
NV LH TUS H TUPAVVOS, } TKYNTTOVXOS 7, 
oaTLs ToLovTOLS Oupov aydailera. 

Trv 0 ék miOyKov: TovTo 8%) Suaxpioov 
Zevs avopaow péyrorov WTacey KaKOD. 
ALT XLOTA ev TPST WTA: TOLAvTH yuvy 
claw Ov acteos Tac avOparo.s yéhas 
et avyeva Bpaxeta, KiWEtTat poyis, 

»” > IE é I , b) / 
amuyos, avToKwhos: at Tadas avyp, 
OOTLS KaKOV ToLOUTOY ayKadileTau. 
dyvea O€ TavTa Kal TpdToOUS eTioTarTaL, 
yY 4 > 4 ¢€ , 4 
wotrep TIOnKos, OVE of yédws pédet. 
ovd av Ti’ ev epfeev, AAA TODO’ Spa, 
t 
\ la ~ e , 
Kal TOUTO TAaTaV NuepyVv Bovdeverat, 
OKWS TLY Ws pméeyLoToV EpEELev KaKOP. 


Thy o €« pedioons: THv Tis EvTUXEL KaBar 


KEW) Yap OLN MOOS Ov Tpooilavel, 

Padre 0 vm avTns KatracEerar Bios: 

pirn de ody diredvTe yypdoKe ToT, 

TEKOVT'A KaXOV KOvVOMaKAUTOY ‘yevos’ 

kapumpemns pev ev yuvaréi yuyveras 

TAT IO, Dein 3 apdidédpopev Xapus: 

ovd é€v yuvarély noerar Kabypery, 

OKov héyovawv appodicious Ndyous. 
Totas yuvaikas avdpdow yapilerau 


o9 


SS IAMBIC POETS 


Zevs Tas apioTas Kal TOAVPpadeo Taras: 
\ Dy ‘ay a A 4 
Ta 0 adha pida TavTa pyxYavy Ards 
A N 2 , a 
% ECT TE TMA, Kal TAP aVOPaoLY peEVEl. 
Zevs yap wey\oTov TOUT eoinoev KaKOV, 
yuvaikas: Vv TL Kal SoK@ow wadedetr, 
EyovTi Tou pahiora yiyverau KaKOV. 
5 4 > 7 e l4 lA 
ov yap KoT evppwy nuEepyv dvépyerar 
100 aTacav, OOTLS OVV yuvaLKt yiyveTaL: 
209 > N > 2 p) , 
ovd aba Aupov oikins amacerat, 
EXO pov cuvoikyntnpa, Svopevéa Oedv. 
> ‘ ,> ¢ U4 A la 
avnp & orav padtiota Ovpndety Soxy 
kat oikov 7) Jeod poipay  avOpamrov xdpw, 
105 EUpOvTa paLov es mayny KopvoceTat. 
OKoU ‘urn yap €oTLV, OVO €s olKinv 
“~ ‘4 > KN 1 4, Py 4 
Eewvov poddvt’ av’ mpodpdvas Sexoiaro. 
4 , , A A 
nts O€ Tor pahiota owdpovey Soxel, 
yy 
avTn méeyvoTa Tvyxaver wBapern 
110 KexNVOTOS yap avdpos — oi S€ yeiroves 
Xaipovae OparTes Kal TOV, WS apmapTaveL. 
THY HY Oo EKacTOS aivéoe: MELVNMEVOS 
yuvatka, THY S€ TOUTEPOV LOMHCETAL ° 
ionv & EXovTEs Lolpay ov yuyveaKopen. 
115 Zevs yap méyvotov Tout émoinoeyv Kakov, 
\ ok > , y+ , 
Kal deo pov appeOnkev appynKTov és, 
e€ ovre Tovs pev “Alons ed€€aTo 
‘ yY > 3 4 
YUVaKos ElVEK AaudLonpLwpevous. 


1B. pordvra mpodpbvus. 


MELIC POETS 


‘ 


ALCMAN 


Aleman, according to a popular tradition which is based 
upon a fragment of his poetry, was a Lydian who came from 
Sardis to Sparta. The -lines which are supposed to refer to 
him are, however, so few that it is difficult to feel assured 
that he is giving definite personal history. The other stories 
which have been associated with his name are of even more 
doubtful origin. So we are forced in any account of his history 
to depend largely upon conjecture. He is quite likely to have 
come from abroad, as the prominent leaders in poetry and song 
at Sparta had previously been foreigners. It would be natural 
to suggest that he came from Asia Minor, as it was thither 
that the early Greeks were continually looking for inspiration 
and light. We can hardly question that his lineage was Greek, 
and so closely had he identified himself with the Spartans 
that he counts himself, and was apparently counted by them, 
as one of them. From the style and tone of his poetry, and 
from the position accorded to him, we cannot fail to draw the 
conclusion that, if not a native of Laconia, he must have been 
long at home there. 

He is of particular interest in the history of literature 
because of his influence upon the development of choral song. 
As a Greek art and an expression of Greek life it must have 
the Greek combination of orderliness and freedom. We find 
in him the beginning, as far as we can trace it, of the division 
into strophe, antistrophe, and epode. He is an important figure 

61 


62 MELIC POETS 


also in the history of Sparta, as giving us pictures which sug- 
gest that in the city of his day Aphrodite and the graces were 
not disdained, however much supremacy may have been claimed 
for the god of war. One can hardly read his poems and think 
of the pictures which they present without wondering whether 
this can be Sparta, the city of the laws of Lycurgus. 


eon Be ag 2s ho 
WU 
Of So <2 EN 
AR oN edad a FR 
Slow Zw ALG 
5-8 = 1-4 
hoy ER Blk Se pay 
oy phe oe Gt Br Fon ge ns 
Ey Pr ee ee ey 
BERD he ae Se a AP ad 
s 


4 f 
NP eh a aa, “oy hoes de 


—u av ££ Ly 


»¥ nw , 
Kor. Tus OL@y TCLs. 
6 8 odBios, daTis vdpaov 
c ld lA 
apéepav SuameéKeL, 
A 3 \ » eee dae 2 
ak\avoTtos. éyav 5 aeido 
5 "Ayi0as TO Pos. Opa’ 
2797. »¥ Y a 
fF wT aduov, oviTEep apy 
b \ 4 
Ayl0e paptuperau 
, 92 2 \ow > - ee ee: | Fn erty 
paivny”: éue & ovr emawnv 
ovTe pouyncba viv a KNEvVa Yopayds 
3 \ “A > 3 4 \ ¥ yY 
10 ovdE KOO En: SoKder yap Huev avTa 
1B. épw- 2B. daiver. 
p wr dts. 8B. émravév. 


ALCMAN 


Y 
ELTPETYS TOS, WITEP AL TLS 
éy Botots oTaceey UmTov 
‘\ 3 l4 . , 
mayov aeOoddpov Kavayarroda, 
TOV UTTOTETpLOLwY dveipav. 


aa Rig 4 b) @= mR 3 \ 4 
15 H ovy opyns; o pev KéAns 
> / ¢€ \ / 
Everukos, a Oe Yalta 
TAS E“as aveias 
€ , 3 la) 
Aynovyopas eravbet 
Xpvaos ws akyHparos, 
20 TOT apyvpLov TpoawTov 
diabadav— Ti Tor héyw ;— 
e / 43 Y 
Aynovxyopa, Mev avTa — 
a d€ Seurépa ed “AyiOav 76 €ldos 
immos elByve@ Koda€atos dpapeirat, 
25 Tal TeAerddes yap apiv 
b ] ? la 4 
Opbia dapos hepoioais 
4 > 3 4 Y la 
voKta du apBpociay are oy prov 
GoOTpov avelpopevat LAayovTar. 


Ovre yap Tu Topdhvpas 
30 TOTTOS KOPOS, WOT apvvat, 
¥ , , 
oure Troukidos Spakwy 
TayxXpvovos, ovde piTpa 
Avdia veavidwv 
lavoyhepadpwv ayadpa, 
> \ \ ~ , 
35 ovde Tal Navvas Kopat, 
aX’ ovd’ "Epara overd7s, 
sQV\ rg \ l4 
ovoe Svdakis Te Kal KNenovoypa, 


63 


64 =| MELIC POETS 


ovd €s AlyyounBporas evOoica, haces: 
“Aotapis TE mou yevouro 
40 Kat mornvero. PidvdAa, 
Aapayopa T éepara Te lavOepis, 
‘GAN “Aynotyopa me Type. 


SAPPHO. 


Sappho, or as she was called in her native dialect Psappho, 
was born on the island of Lesbos, in Mytilene or Eresos, and 
began her poetic work not far from 600 8.c. She was married, 
according to tradition, to one Cercolas or Cercylas, of Andros, 
said to have been a man of wealth and position; but if there 
is any truth in the story, his wife was all that saved him from 
oblivion. Very little is known of the partictlars of her life; 
she lived principally in her native island, though there is tes- 
timony that she was exiled in connection with other aristo- 
crats of Mytilene, and spent some time in Sicily. 

The life of the Aeolian women seems to have been peculiarly 
free. Sappho became the center and leader of a society of her 
countrywomen, who, like herself, were devoted to the Muses. 
She was ardent in temperament, intense and impulsive in her 
affections, and this characteristic has given her the reputation 
of being immoral in her private life. It is, however, fair to 
record that there does not exist a particle of well-sustained 
evidence that her character was impure, and the existing frag- 
ments of her poetry are thought by many critics entirely to — 
contradict the charge. (See Historical Introduction.) 

Her expressions of love are full of marvelous intensity and 
ardor. According to ancient tradition she was enamored of a> 
youth named Phaon, and in her passionate feeling even threw 
herself from the Leucadian cliff; but the name does not appear 
in her poems, and the whole story seems to be utterly without. 


LSBRAR ES 
(Orme eS 


CALIFORNIE 








65 


foundation. For gracefulness of diction and impetuosity and 
unrestraint of feeling she has never had an equal. We have 
only fragments of her poetry left, but they are marvelous exhi- | 
bitions of her power in the use of words, and of her unparalleled 
_ intensity of emotion. 

Her poems were distributed in nine books, comprising ele- 
gies, epigrams, iambi, and songs of various forms. The dialect 
is the Aeolic of the island of Lesbos. The meter of I, I, III, 
IV, and V is the easily-recognized Sapphic verse (Sapphics 
and Adonics): G. 1682.6 and 1; HA.1111.r anda; S. p. 104. 
VI is Alcaic: G. 1682. 5; S. pp. 72,102. VII and VIII are 
Asclepiadean, i.e. made up of two catalectic Pherecratics, second 
followed by first: G. 1682. 3,2; HA.1115.a; S.p.97. IX is 
hexameter. 

I (1) 
TlouxAdO por’, abavar “Adpddira, 
mat Aios, SoddtAoke, Niccopai oe, 
LH ph avait pT dviaior Sdpva, 
moTvia, Odor: 

5 adda TULO ENO’, aiota KaTépwTa 
TAS E“as avdws alloca mHAruL 
exdves, matpos O€ Sdpov Nirouwa, 

xpvavov 7Oes 
app wmolevEaca: Kadou d€ o ayov 

10 wKEes OTPOVOOL TEpL yas pedaivas 
muKva OW:WeEdVTES TTEP aT wpdvw aibe- 

pos dia péoow. 

— athba 8 é&ikovro: 10 8’, @ paKxapa, 
pedidoaoe alavatw mpocaTe, 

15 Hpe, ort. Onure TwéTOVOa KOTTL 

Onvre KaAnML, 


66 


20 


25 


10 


MELIC POETS 


A é 4 rd 
KoTT. por paktota Oéhw yever Sou 
pawora Ovum: tiva Syire MeiOw 
A + 3 \ 4 s 3 5S 
pats aynv €s cay didotata, Tis 7, @ 
Vard', adie; 
‘\ ‘\ > 4 4 4 
kal yap al pevye, Taxéws divoEer, 
ai Se d@pa py Séxer’, adda Sacre, 
ai d€ pw dire, Tayéws puryoe 
> 3 , 
KovuK eBédouwa. 
Y A A A A wn 
Efe rou Kal vov, yaderav 5€ Ndcov 
EK pEepyvav, oooa O€ pou TEMET OAL 
aA > + “ , a eee 
Pdpuos iwéppel, TEeAeTOV: av SO avTa 
TULMLAKXOS ETTO. 


II (2) 
Paiverai por KHvos toos Oéouctv 
EMPEY WYNP, OTTLS EvavTios ToL 
2y¢ 7 \ # > , 
ifaver, kat thaciov adv dwvev- 
TAS UTAKOVEL 
\ 4 > ‘4 , la 
Kal yehaioas \mEepoev, TO MOL Wav 
Kapoiav év otyleow éntoacer: 
€ \ ¥ 5 , 4 
ws yap evioov Bpoyéws oe, davas 
SO. #9538 
ovdev eT ELKEL: 
adia kau pev yhoooa eaye, Nértov 8 
QUTLKa Yp® TUp UTadedpomaker, 
> 4 ’ b) \ » > 5 4 
ommarero. & ovdev Opn’, ETLPpop- 
Bevou & dxovan. 
5 5 , 9 76 1 , , 5 , 
a O€ w LOpws* KakyéeTaL, TPOmos OE 
a ¥ 
TaLTav aype, yAwpoTépa € Troias 


1 B. uldpas. 


SAPPHO 


15 emp, TEVAKHY O ddiyw ‘mdEvNS 
paivomwat (adda). 

aha may TOhparov, [| éret Kal wéevyTa | 

* * * 


III (3) 


"Aotepes prev adi Kahav oehavvay 





Om7TroTa n\iOoe dhe buorra apy 
yay * * * 


*  * *' apyupia. 


IV (4) 


"Ape € Woypov Keddde Ov vadewv 
pariver, atlbvocopevwrv dé dvdANwv 
KOLA KATA pPpel. 


V (5) 


* * * "ENOe, Kuzpu, 
, ’ , ¥ 
Xpvoiaow €v KvAiKecow aBpws 
cuppewrywevov Oadiaor véxtap 
olvoyoevaa. 


VI (28) 


At & Axes eohwy iwepov 4 Kahwv 


\ v4 _ A > 3 4 4 
Kal @YN TL FEelTNVY yYAOOO EKUKa KaKoY, - 


x A Tie Ge ” > 
alows KE O OV KLY QVEV OTTTTAT , 


adn’ eXeyes epi TO Sukalw. 


1B. dixalws. 


67 


68 MELIC POETS 


VII (136) 
"ANN od yap Oéus ev povooTddwy Sopa’ 
Opyvov eupevar: ovK app mpéme TAOE. 


VIII (137) 


TO OvdoKev Kakov: ovTw Kexpixace Oeoi: 
¥ X PN ¥ , > , 
eOvacKov yap av eimep Kadov Hv TOOE. 
IX (95) 
FéeoTrepe, TavTa hépers” ooa haivodss 
€oKeOaT avws, 
> A > 'd ‘\ 4 
atya ov olv Te Pepers, ov Hepes 
Kal warépu Tatoa.” 


ALCAEUS 


Alcaeus of Mytilene was a contemporary of Sappho; that is, 
his literary activity belongs to the early part of the sixth cen- 
tury B.c. The dates which are given in connection with his 
life are confused and confusing, and as the few facts which 
seem to connect him with definite points in history have a tan- 
talizing way of increasing difficulties quite as much as they give 
light, we must be satisfied with general statements. He was by 
birth a noble, by sympathy an aristocrat, and by taste and dis- 
position both a warrior and a poet. He lost his arms in the 
battle between his countrymen and the Athenians for the pos- 
session of Sigeum, yet in spite of this misfortune he evidently 
retained his reputation as a valiant soldier. His valor and his 


1B. povocorddy oixla. 

2B. pépwv. 

3B. pépers ov, pépes aiya, pépes dru 
parépe maida. 


ALCAEUS 69 


genius were alike made tributary to his political party, and he 
fought in behalf of the nobles against successive tyrants, as also 
against the excellent government of Pittacus, who by his right- 
-eous rule was restoring peace to the suffering Lesbians. Alcaeus 
was indeed contending for what he had professed to abhor, to 
establish a despotism, because he thus hoped to confirm the 
supremacy of himself and his friends. Pittacus, as of low birth, 
was the object of his enmity and scorn, and all the more be- 
cause he favored the common people. But the popular party | 
triumphed, and after a lengthy period of banishment Alcaeus 
was glad to accept pardon from his opponent, who, whatever 
may have been his ancestry, was high-minded enough to recog- 
nize that mercy is better than revenge (cvyyvopy Timwpias Kpeio- 
owv). 

There were ten books of the songs which were known to the 
ancients, representing a great variety of themes and reflecting 
the changes and contrasts of his checkered career. As we 
have only fragments, we gain but a faint impression of what 
his poetry really was. The patriotic and martial odes were the 
most celebrated of his productions. His full-souled vitality 
was a most important element in forming the character of his 
life, as also of his poems. He betrayed his love of activity, 
his admiration for forceful energy, in all that he did or said. 
He lacks the highest type of poetic imagination, but he com- 
mands interest and carries his readers with him by the strength 
of his feeling. His poems, unfortunately, have almost entirely 
disappeared, lost perhaps the sooner because written in the 
_ Aeolic dialect so that they could not be thoroughly known and 
universally appreciated by the Greek public. 

The meter of II, III, VI, and VII is the Aleaic stanza - 
which we have so frequently in Horace, see G. 1682. 5; HA. 
1111.s. VIII is Sapphic and Adonic: G. 1682.6; HA. 1111. 
r and a. IV, IX, X, and XI are Asclepiadean: HA. 1115. 
a and b. 


70 MELIC POETS 


or 


STASIOTIKA 
I (15) 
BG highs AOS es to ee A 
Mappaipe de péyas ddpos yadkw: tatoa’ 3d “Apy 
KEKOOPNTAL OTeya 
Adprpaow Kvviaot, KaTTav AevKOL KaTUTEpOeEV LamTLOL 
odor 
vevoroiv, Kepahaow avdpwv ayddpata: yadkuae de 
Tacaahous 
4, , 4 4 + 
KpUTTOLOW TeEpikeiwevar AdpmTpaL KVYapLOEs, ApKOS 
laxvpw Bédeus, 
Oapakés Te véo iva Kolihai Te KaT aamides BeBAH- 
pevan: | 
Tap d€ Xadkiducat omd0ar, wap d€ Capara moda 
Kal KUTATTLOES ° 
“A b) ” , 2 3 \ , > 2% / 
Tov ovK eat alec; emedy) TpdtioT wd Fépyov 
EOTApEV TOOE. 
II (18) 
b , “A > , 4 
AGUVETY PLL TOV AVELWY OTACLY ° 
\ \ m.! x A / 
TO pev yap elev kipa Kvdiveerat, 
\ > ¥ ae > x \ , 
70 0 evOev: apypes 0 Gv TO peooor 
Pree ~ , A x 
vat popynucla ovv pedaiva, 
5 year poyPedvres peya@ pada: 
\ \ \ + b ) S yy 
TEP MEV yap avTros LoTOTEOAaY EXEL, 
Aatdhos dé av Cadynrov dn 
\ , , > 
kal NdKides peyahar KaT avTo: 
4 > Tain. 
xodaior O° ayKouvan. 


1B. raea. 


Cc 


ALCAEUS 71 


II (20) 
Nov xpy peOvaobnv Kai twa pos Biav 
Tavnv, eTedy KaTOave MUpoudos. 


IV (88) 
IIPO> ANTIMENIAAN 


"H\Oes ex mEepdtav yas éhehartivar 

haBav To Eiheos ypvaodérav eywr, 

émeon peyav aOov BaBudwviots 

ouppdayes TeAeoas, pvcad T eK TOVU?, 

KTEvVaLs avoOpa paxaitay Baoidyiov 

TAhaloTav aTONElTOVTA MOVOY [Lay 
TAXEWV ATV TELTOV. 


V (55) 
EPOTIKON 
‘lomoK’ ayva peddtryopevde Lamon, 
Oédw Tu feirnv, adda pe Kwrver 


alows. 


SKOAIA 
VI (84) 
"Ter pev 6 Leds, éx 8 dpava péyas 
Xeiuwv, werayaow 8 vddtwv pda. 
* * * * * 


* * * * 


KaBBadXe Tov xeiwwv’, ert pev Ties 


72 MELIC POETS 


iam 3 4 ‘4 > > la 
mop, ev d€ Kipvats oivoy apedéws 
5 péAtypor, avTap audt Kdpoa 
pahOakov audiBarwv* yvddaddXovr. 


VIL (35) 
> \ , la) 3 , 
Ov xp?) Kadkowor Odpov emuTpéerny: 
Tpokowopev yap ovdev ao dpeEvot, 
> , , oe 
® Buxyt, Pdppakov 8 apiorov 
olvov everkapevors eva nv. 


| VIII (36) 
"ANN avytw pev mept Tats Séparow 
4 4 > “4 7 
meplérw mr€xrars VroOvpdas 71s, 
X \ / , S \ aA 
Kad O€ yevdTw pUpov adv KaT TO 
oTyGeos appr. 
IX (87) 
Tov KakoTaTpioa 
Ilirraxov moduos Tas dyodw” Kat Bapvdaipovos 
€oTacavTo TUpavvoy péy EemaivéovTes aodNeEs. 


X (41) | 
Hivopev: tid Nbyvov pevopev; SdKTvos apeépa. 
\ > »* , , <4 / 3 
Kad 0 aeipe KvALyVvas peyadats, atta, TrovKiNats *: 
olvov yap Yeuedas Kai Aios vios habixadea 
b] 4 ¥ > ¥ , 4 \ 4 
avOporoow dak’: eyyee Kipvais eva Kat dvo 
l4 ‘ 4 b) > a f. ‘ > l4 4 
5 mhéais KaK Kehadas, a 8 arépa Tay arépay KUNE 
obnrTw. | 
XI (44) 
Myoev adrdo durevons mpdrepov Sévdpiov aprédo. 


1B. dugi.... 2B. dixddw. 8B. att bre Oixe hats. 


ANACREON "3 


ANACREON 


Anacreon was a native of Teos, an Ionian city, on the coast 
of Asia Minor. When, however, this city was taken by Harpa- 
gus, the general of Cyrus, a large portion of the inhabitants 
removed to Abdera in Thrace; and Anacreon may have been 
among them. The date of this migration is commonly given as 
545 B.c. Somewhat later in life he was prominent at the court 
of Polycrates at Samos. After the death of his patron he was 
brought, in a galley of fifty oars sent especially for his. convey- 
ance, to Athens, to join the coterie of poets whom Hipparchus, 
the son of Pisistratus, had gathered about himself. He died at 
the age of eighty-five, choked, as tradition says, by a grape- 
stone. His death took place, apparently, about 478 B.c. 

-Anacreon lived a voluptuary, in the midst of the greatest 
luxury which his age could boast. Polycrates and the sons of 
Pisistratus labored alike to make their capitals the envy of the 
surrounding world for their prosperity and magnificence, while 
their courts were celebrated for the brilliant pleasures with 
which they encompassed themselves. Here he lived to enjoy 
all that was enjoyable, and to sing the delights of wine and 
love. He does not give in his writings an impression of great 
strength or depth of feeling. He means to take life as it 
comes and get the full enjoyment of every day as it passes. 
He is a devotee of Dionysus and Eros, but does not mean to © 
follow these divinities in courses which would be shocking to 
_ the Greek sense of propriety. He was sufficiently a disciple 
of the Graces to abhor excess. The last selection in our list of 
his fragments is his witness that he wished for larger portions 
of the quickening water than of the fiery wine. The tradition 
that he lived to extreme old age is an indication that he did 
not greatly abuse himself. In his life and in his poetry he is 
devoted to pleasure and grace and beauty, and as an exponent 
of that type of life he has obtained lasting fame and perhaps 


ie bas MELIC POETS 


deserves higher esteem than the modern world has been in- 
clined to give him. : 

Five books of songs were known as attributed to him among 
the ancients; but only a few fragments have been preserved 
for us to read. The dialect in which he writes is Ionic. 

The meter is Glyconic, with Pherecratic verses inserted (S. 
p- 70; G.1682; H.1111). This is the meter of the first five 
fragments. The sixth, seventh, and eighth are ionic. The ionic 
a minore is two short followed by two long. For the long syl- 
lables of one foot, taken with the two short of the next, two 
trochees may be substituted (anaclasis) (G. 1688. 2; H. 1121. a). 
The scheme is, therefore, Vv V+ uU—u+_—. In VII there is® 
anacrusis, and in the second foot syncope followed by anaclasis 
in the close of the lines. 


EIS APTEMIN 
I (1) 

Tovvovpati a, ekadnBonre, 
EavOy tat Atos, aypiwv 

déoTow “Aptew. Onpav: 
n Kou vov emt AnBaiov 

5 divno. OpacvKapdiwy 

avopav €okatopas TOA 
Xalpova’: ov yap avnuépous 

TOLMALVELS TOALATAS. 


EIS AIONTSON 

II (2) 
"Ova, @ Sapadns “Epws 
kat Nvudar kvavermdes 


toppupen T Adpodirn 


ANACREON 


4 > , > 
cuptrailovaw: émortpepean 5 
5 ubnAwv Kopudas dpewr, 
youvoupat oe ov 0 evperys 
> ei a la 3 
EM nut, Kexapioperns 9 
—evyadns erakovetv. 
KXevBovio 8 ayalds yévev 
4 4. 3 \ > ¥ 3 
10 avpBovros: Tov emov 8 Epar, 
S , , 
o Aeivuce, déxer au. 


III (3) 
KXevBovrAov pev éywy’ €pa, 
KXevBovr 8° éripaivopat, 

KvevBovrov dé di0cKéw. 


IV (4) 
°O, mat tapbevov Br€érowv, 
dilnpai oe, ov & ov KOEtS 
5 > , y A 3 a 
OUK ELOWS, OTL THS ELNS 
WuXNs NvLoxyevers. 
V (14) 


Shaipy Sniré pe Toppupen 
Badr\ov ypvcokduns “Epws 

— pyve troukirdocap Bare 

ouptrailey mpokadetTar: 

5 7 8, €oTl yap am EevKTiTOU 
AéoBov, THY pev eunv Kony, 
hevky yap, karapéemperar, 

TPs 0 dAXAov Tid XAT KEL, 


76 


MELIC POETS 


VI (44) 


Tlodvol pev july ndn Kpdtado. Kapn TE revKor, 


xapiecoa 5 ovkel’ nBn wdpa, yynpadeou 8 dddvtes. 


AuvKEpov © ovKETL TOAAOS BudTOov ypovos AéeANELTTAL* 
Y p XP 


dua TavT avacrahvlw Paya Taprapov dedorkas. 


5 “Aldew ydp €or Sewvds pvyds, apyadén 8 és avtov 


l4 \ * e A 4, \ > A 
kaQodos: kai yap éroipov kataBdvre pr avaBnvar. 


(IPOS =MEPAIHN) 


VII (48) 


Meyaddw Sniré pw’ “Epws exoev wore yahkevs 


meee, xeepin O €ovorev Ev yapadpy. 


10 


VIII (63) 
"Aye On, hep Hiv, @ Tat, 
, Y ¥ 
KehEBnV, OKWS AUVOTLY 
P \ \ phe, - 
TpoTriw, TA wey OEK eyyeas 
Y ‘\ lA > yy 
voaTos, Ta TEVTE O OlVOU 
, e b) , 
Kvafous, ws avuBpiori 
es > , 
ava dntte Baccapynow. 
ea Sete oe Se 


"Aye Ontre pnkel” ovrw 
TaTayo Te KANaANTO 
LKvbikyv TéTWw Tap oivw 
peheTapev, adda Kadots 
UirotivovTes €v ULVOLS. 


ANACREONTEA T7 


ANACREONTEA 


These songs have long borne the name of Anacreon, being 
written with much of his spirit; but by the best critics they 
are-regarded as spurious. They receive little recognition from 
the ancients, and represent different ideas from those found in 
the undoubted poems of Anacreon. They differ also in their 
meter, which is usually iambic dimeter catalectic (G. 1665. 3; 
HA. 1096. e). The ionic a minore with anaclasis will be recog- 
nized in [X and others. For fuller accounts of these meters, see 
S. pp. 107-111. 


I (3) 
EIS ILOTHPION API'YPOTN 


¥ 
Tov apyupov Topevwr, 
4 - 7 
Hdauoré, pou Toinoov 
TavoTALay MEV OXI, 
TL yap payarorr Ka{L06 ; 
5 moTypLoy S€ KotAo?, 
dcov dvvn, Babivas. 
mote, O€ pou KaT avToU 
yo” >» 
LYT aoTpa pyT apakar, 
py orvyvov “Opiwva: 
10 Ti TlAeuddwv perder por; 
, \ “~ , 
Ti yap Kadov Boowrov; 
Toinoov auméXous jL0L, 
Kal Botpvas Kar avTar, 
\ , 7 
Kat Mawvddas Tpvydoas. 
15 mote. dé Anvov olvov 
, A 
AnvoBaras rarovvras, 


78 


20 


10 


MELIC POETS 
Tovs Latvpous yeAovTas, 
Kal xpuaovs Tovs "Epwras, 
kal Ku€ypnv yedooar, 
ou“ov Kal@ Avaiw 


"Epwra kadpodirnv. 


II (6) 
EIS EATTON 


A€yovow ai yuvaikes : 
3 , , io 
AvaKkpewr, yépov el, 
haBov éxomtpov ape 
KOMaS [LEV OVKET OVTAS, 
‘\ , 4 
Wuddov O€ wev péTwrov. 
3 \ \ ‘\ , , 
€yo O€ TAS Kopas MeV, 
Ae eae SLY 5 FSS. EY 
ElT Eloiv, etT amnOor, 
OUK O10a* TOUTO O oda, 
¢€ w~ , ~ 
WS T@ yepovTt wad)ov 
TpemEeL TO TEPTVA Trailey, 
4 4 \ 4 
oo7w 7éhas Ta Moipys. 


III (7) 


EIS TO A®BONDS ZHN 


5 


Ov por pede Ta Tvyew, 
la) , + 

TOU Yapodiwv avaKTos: 

ovo ethé 7a pe Lydos, 

ovde dOova Tupavvors. 

Emol MEAEL UUPOLoLV 

KataBpexew vinvyv: 


10 


15 


ANACREONTEA 


3 \ l4 a 
€wot pede. podorouy 
4 
KaTaoTepe Kapyva. 
TO OHMEPOV pEAEL LOL, 
‘\ > ¥ , 5 
TO © avpuov Tis older; 
¢ . eae, ek ee ke ee 
WS OvV ET EvOLA OTLY, 
\ A \ 4 
KL TLVE Kal KUBEVE, 
‘\ Ves “~ a 
Kat omevde TO Avaio, 
\ A ¥ ¥ 
fy vovmos, nv Tus EAOn, 
, 
heyy, we pr Set tive. 


IV (8) 


EIS EATTON MEMEOTSMENON 


or 


10 


15 


"Ades pe, Tous Jeovs oot, 
TLELY TLELY AMVOTL : 
Bédw O€drw pavynvar. 
3 ‘4 +3 Pe 
ewaiveT AXKpewr TE 
> 4 > , 
x NevKoTrovs Op€éorys, 
TAS LNTEPAS KTAVOVTES: 
3 A \ , 4 
eyo O€ wnd€éva Kas, 
\ ae ‘ a” 
mov & épvO pov otvov 
Gédo O€dw parynvar. 
enaivel Hpaxdyns mpiv 
dauvnv Krovav hapérpynv 
\ , > - 
Kat TO€ov ‘Idireov. 
3 , A ¥y 
EMALVETO TPLY Alas 
} ee 4 , 
pet aomidos Kpadaivwr 
Thv “Extopos padyatpar 
3 \ 5 y 4 
eyo 0 exwv KvTENOV 


79 


50 


10 


MELIC POETS 


\ a , 
Kal OTEMMA TOUTO KaiTaLs, 
, 
ov TOLov, OV paxaLpar, 


Bédw Odo pavjva. 


V (9) 
EI> XEAIAONA 


Ti cou Bédevs TOLHo, 
Ti wot, AdAn yeALOov ; 
TA TAapTa GEv TA KOUdA 
Bédes AKaBav WariEa ; 
nH paddov evdobev oev 

‘ A“ 2 As 4 
Thv yAwooav, ws 0 Typevs 
3 ~ 3 , 
exeivos, exOepi—a; 
Ti ev KaAOY OVELpaV 
vropOpiatct dwvats 
adynpracas Babu\Xop ; 


VI (12) 
EIS EPOTA 


@ddrw Oérow dirjoa: 
ere?’ "Epws dude pe, 
éyo © exov vonpa 
aBovXov ovk éreiaOnpv. 
6 8 evOv rd€ov apas 
Kal ypuceny hapéerpyv 
PaXn PE TpovKadeiTo. 
Kayo haBov ér owov 


ANACREONTEA 


Oapnyx , OTws “Ayidrdevs, 
10 Kat dovpa Kat Boeiny, 
éuapvapnv Epwre. 
EBadd’, éya d ehevyov: 
ws 0 ovK ET Ely dloTOUs, 
noxaddev: €if éavTov 
15 adyKev ets BEdEwvor, 
péoos O€ Kapdins ev 
¥ ieee ae 
eduve, Kai pp eAvoev: 
4 > ¥ “4 
parnv o exw Boeinv: 
Ti yap Baw puv ea, 
20 PAaYNS ETW MW EXOVTNS ; 


VII (13) 
EIS TOT> EATTOT EPOTA> 


Ei fvAXa ravra dévdpeovr 
ETIOTACT AL KATELTTELY, 
el KYAT Oldas EUpeELy 
\ ~ ¢Y <- 
Ta THS OANS Oartacoys, 
5 OE TOV ELOY EPOTaV | 
pOvov To® hoytaTyHy. 
mpotov pev €€ APnvav 
¥ ¥ , 
epwtas eikoow Oés 
\ , > »* 
Kal TevTeKaloeK GAdouvs. 
10 eeita 0 €x KopivOov 
eis nae a es 
Bes Sppabovs éEporav: 
> h , b 
Axains yap Eat, 
OTov KaNat yuvatkes. 


82 


15 


20 


25 


10 


MELIC: POETS 


tiBer dé AeoBious pou 
Kal péxypt TOV lave 
kal Kapins ‘Pddov Te 
duryiAtous Epwras. 
4 4 3 4 
ti dys; exnpralys ; 
oumw Ywpous edeEa, 
outw 7600vs KavaBov, 
ov THS aTaVvT ExovaNsS 
Kpyrns, orov modeoou 
¥ 3 4 
Epws emopyiacen. 
Ti cou Oédeas aptOna 
\ 4 4 3 , 
kat Tovs T'adeipwv €xTds, 
\ , b ) la 
Tous Baxtpiwv Te Kivdav 


WuXKns EUNS Epwras ; 


VIII (14) 


EI> IEPISTEPAN 


‘Epacpin édeva, 
7obev 100eEv TeTATCO AL: 
To0ev pUpav ToTOvTwV 
b J 2 S72 4 
em nepos Oéovca 

4 A 4 
TVEELS TE KaL WEKaLELs ; 

4 b ] 4 4 

tis €oti wou pednowr ; 
>) v4 > ¥ 
Avakpewv pm emeuev 
Tpos Tatoa, mpos BabuAdor, 
TOV GpTL TOV aTravTwV 
KpaTouvTa Kal TUpaVvvoV. 


Tempake wy KvOnpy 


15 


20 


25 


ANACREONTEA 83 


haBovoa pixpov vpvov: 
b] \ > 3 ? £ 
eyo & “AvakpéovTt 
OLAKOV@® TOT AUT: 
Kal vUV, Opas, EKELvoU 
3 ‘\ , 
emuaToNas Komicw. 
, > l4 
Kat dnow evléws pe 
) , , 
éXevepynyv trounoe. 
3 \ l4 x > “ 
eyo O€, KV APY [é,- 
dovAn MEV@ Tap avT@: 
, 4, wn , 
Ti yap pe Set réracOau 
Opn TE Kal KaT aypous, 
kav devdpeciv KaliCew 
hayovoav ayp.ov TL; 
Tavov €dw ev apToV 
apapTacaca YELlpav 
“AVAKPEOVTOS GUTOU : 
muetv O€ pou Sidwou 
= A 
TOV OiVvOV, OV TpOTTVEL: 
TLOvVa AOnY KopEva, 
Kal OeoTOTHVY KpeKOVTA 
MTEpOLot TvTKLalw. 

, ee Dee b a 
kolLopern & ér avT@ 
T@ BapBirw Kabevdo. 
¥ Y . ¥ 
éyers amavt: azedOe: 

2» 
Laktorépay p eOnkas, 
avOpwire, Kal KOpOVysS. 


84. 


10 


15 


20 


25 


MELIC POETS 


IX (15) 

EIS: KOPHN 
"Aye, Cwypddwv apiore, 
ypade, Cwypddwr apiore, 
‘Podins Koipave TExvns, 
ATEOVTAV, WS AV ETH, 
ypade THY Eunv ETAlpnv. 
ypade pou Tpixas TO TPOTOV 
amahds TE Kal peAaivas: 
6 dé Knpods av SvvynTat, 
ypade kat wvpou TvEeovaas. 
ypade 5 e€€ odys Tapens 
v1rd Tophupator yaiTaus 
EXehavTivov peTwTrov. 
TO pecodpvov O€ Ly LOL 
OLAKOTITE, LTE pLlorye* 
éyerw 0, OWS EKELVN, 
TO NeANOdTws TIVOdpr, 
Breddpwv irvy Kehawwnyp. 
TO b€ Bréupa viv adynOas 
G0 TOU TUpOS ToinTo?, 
dua ydavKdv, ws “AOnvys, 
apa & vypov, ws KvOnpns. 
ypade piva Kat Tapes, 
poea T@ yadakru pi€as. | 
ypade xethos, ota IeBovs, | 
Tpokadovpevov piryna. 
tTpudepov 5 €ow yeveiouv 


ANACREONTEA 85 


mept Avydive Tpaxnro 
Xapires TeTOWwTO TAT AL. 

, \ ‘\ > Va 
oTo\oov TO AoTOV auTHV 
€ . , , 
viotopdupoict TéTAoLs ° 
dtadaivera 5€ capKav 
2\ 7 \ A 32 x» Z 
ddtyov, TO Tap EEyxoV. 
b] ld , ‘\ b) 6 
améyer’ BAérw yap avTny. 

, rs \ , 
Taxa, Knpé, Kal haknoess. 


X (19) 
EIS EPOTA 


Ai Movow Tov “Epora 
dnoaca, oTEPavorow 
To Kdddeu tapédaxar. 
\ a e , 
Kat vuv 7 Kvépea 
A 4 , 

Cnret \UTpa h€povaea 
MicacOar Tov “Epwra. 
XK , , 32-7 
Kav von € TLs avTOV, 
> y A - 
ovK e€eror, pever dé: 
SovAevery SedidaKTar. 


XI (21) 

‘H yn pédouwva river, 

miver O€ S&vdpe av yp. 

lA 4, 7 3 4 
tive, Oddaco avavpous, 
gy 

65 nos Oddacaar, 

Tov & yAov wEedyvy. 

‘Ti por payeoO’, Eratpor, 
> ~ lA , : 

KavT@ Oé€dovte Tivevv ; 


86 


10 


15 


MELIC POETS 


XII (22) 
EI> KOPHN 


‘H Tavrddov mor éory 
hidos Ppvyav év oyBats, 
Kal Tats ToT Opvis emt 
Ilavdiovos xedudav. 

> \ Q » ¥ 

éyw d exomtpovr einy, 

y > 4 , 

ows ael BdErys pe: 
ey@ XITOV yevoimny, 
OTWS GEL HopHs pe. 
vowp béhw yevéo Oar, 
oTws TE Yp@TA ovow: 
pUpoV, yUvat, yevoimny, 
Y 3 4 » Dee: | , 

oTws eyw oa adetibo. 

kal Tawin d€ pacTor, 
Kal papyapov Tpayydy, 
kal oavdadov yevoiunv: 
fOvoV TOG lV TaTEL [E. 


XIII (23) 


EIS KIOAPAN 


@édw eye “Atpeidas, 
Jédw dé Kddpov ddew: 
a BapBuros d€ yopdais 
"Epwra movvov 7X el. 
nena vevpa mpanv 
kal THY AUpnY aracar, 


10 


10 


ANACREONTEA 87 


Kay@ ev WOov aOdous 
‘Hpakhéovs: vpn dé 
EPWTAS AVTEPOVEL. 
Kaipoite Nowroy yuty, 
npwes: 7 Ndpy yap 
povous “Epwras aoeu. 


XIV (24) 
EPOTIKON 


Dvous KEpara Tavpots, 
c . ¥» y 
OTAAS COWKEDV LITTOLS, 
TodwKinv Naywots, 
Meovot yao dddvTar, 
Tots tyOvow TO vyKTO?P, 
Tots Opvéos TéeTATO aL, 
A b) 4 , 
Tois avdpdow hpdovynpa. 
N B) ¥> 4 
yuvaEty ovK €T ELyeV. 
Ti ovv; didwoau KadXOS 
> > 93 4 ¢ A 
avT aoTlowy atacar, 
aVT €yX€wy ATAVTWD. 
Ka O€ Kal otO 
UK. alt oiOnpov 
\ a) 4 
Kal TUP KaAH TLS OUTTA. 


XV (25) 


EIS XEAIAONA 


Lv pev, din xedidar, 


eTHT In odovTa 


88 


Or 


10 


15 


MELIC POETS 


Béper mhéxers. Kadunv 
va > > » 

year. O eis apavtos 
n Netdov H ‘at Meudur. 
"Epws 0 aet meer pev 
3 4 4 
év Kapoin Kadunv. 
I1d00s 8 6 pév mrepovtat, 
6 8 adv é€oTiv aKuyY, 
6 8 ypirenros 767. 

\ A , > > A 
Bor) 5€ yiver atet 
KEXNVOTWY VEOTT OD. 
"Epwridets dé puKpovs 

- 4 “a 
ol peiloves TPEpova. 
e \ 4 b) 4 

ot d€ Tpadevtes evOus 
mad Kvovow a)dovs. 
TL LNXOS OvV yevynTat ; 
ov yap oVévw TocovTous 
7 3 “ 
Epwras €xBonoa. 


XVI (26 A) 
EPOTIKON QOIAAPION 


Lv pev eyes TA ONBys, 
e Q> 4 la Se 
68 av Ppvyav avtas: 
3 a -Q3 95 \ € , 
eyo & éuas arooess. 
> Y eA vA 
OVX UTTOS WAETEV ME, 
ov melds, OVXL VINES’ 

\ \ \ » 
oTpatos 6€ Kawvos addos 
eS , 4 
aT oupatwv we Badrrav. 


ANACREON TEA 89 


XVII (26B) 

5 5 , A yY 
Ev toyous ev UTTroL 
Tupos Kapayy Eexovow * 

\ , ¥ 
kat ILapGiovs Ts avdpas 
EyVOPLoEV TLAPas. 
3 \ \ x 5 an 
eyo d€ TOUS Ep@VTAS 
5 A me 4 5 5 , 
idov éerictap evOvs: 
EYouTL yap TL Nemrov 


Wuyns €ow Kapayya. 


XVIII (27 A) 


EI> TA TOT EPOTOS BEAH 


Ct 


10 


15 


‘O avyp 6 THs KvOypns 
Tapa Anpviats Kapivors 
Ta Bédyn Ta TOV Epoérav 
éoeu AaBav oidnpov. 
axidas & eBamre Kumpus 
pédu TO yAvKU haBovoa: 
6 8 "Epws yodnv Euoryev. 
68° "Apns mor €€ avTys 
otiBapov Sdépu Kpadaivev 
Bédos nirédiul’ ”"Epewros: 

6 8 "Epas, 760 €oriv, eizer, 
Bapd: mepacas voyoes. 
éhaBev Bédeuvov “Apys: 
Urewevoiace Kvarpis. 

6 8 "Apys avactevatas, 


90 


10 


15 


MELIC POETS 


Bapv, dnoiv: dpov avro. 
6 8 "Epos, €y’ atro, dyow. 
XIX (27B) 
xarerov To py prinoat, 
xaherov d€ kat prijoat, 
yakerdrepov O€ TavTwY 
atoTvyxavew pidovrTa. 


XX (31) 
EIS EPOTA 


Y. 
Megovuxriois 70? wpas, 
otpehe? nvik “ApKtos non 
KaTa xetpa THY Bowrov, 

, \ nw , 
[LEpoTrwY de pvra TavTa 
KéaTar KOT@ OapevTa, 

4, 3>Yy 3 , 

ToT Epws émuotabeis ev 
Oupéwy exomT oxHas. 

, ¥ , >] 4 ; 
tis, env, Oipas apacce; 
KaTa pwev oyiles dveEipous. 
6 8 "Epas, avouye, dnoiv: 
Bpédos iwi, pn PoByoa: 

4 \ 5 , 
Bpéxopar d€ Kae ANVOV 
KATA VUKTA TETAAGYHLAL. 

b] , =a se» , 
Eh€noa TAVT AKOVTAS, 
ava 5 evOd iyxvorv apas 
> ] , A , , 
avéwka, Kat Bpéhos pev 
b ] ~ 4 4 
€oop@ pepovTa TOfov 
MTEpvyas TE Kal Haperpnv. 


20 


25 


10 


ANACREONTEA Sh 


\ ee ld ~ 

Tapa o ioTinv Kabioa, 
TANAMALS TE KELPAS AUTOU 
b] v6 3 \ 4 
aveBadmov, €x dé yairns 
amtéO\uBov wypov vdowp. 
e > b] \ , “A 
60, €met Kpvos peOnker, 
hépe, HN, TELpPATapev 

/ / ¥ / A 
T60€ TOEOV, EL TL LOL VUV 
BraBerar Bpayetoa vevpy. 
Tavve O€ Kal pe TUTTEL 
perov Hap, WaTEP Ola TpOS* 
ava 8 adder kaxalor, 


Eve, 8 cime, cvyyapyA: 


Képas aBdaBes pev npiv, 
ov O€ Kapdiny Tovycets. 


XXI (32) 
EIS TETTICA 


Makapiloper oe, reTrL€, 
bd l4 Pe Ben > 
OTe devdpewy eT aKpwv 
>] , “4 4 
diyny dpdcov TeTwKaS 
‘\ 4 a es 

Baowreds omws aides: 
oa yap €oTL Kelva TAVTA, 
4 , 2 b] > a) 
omoca Bdéres Ev aypots, 
e , ld y 
omT0ga Tpepovot vAat. 

\ \ 4 wn 
ov 0€ daivea. yewpyav 
> * ld , 
amd pnodévas TL BAdTTwV: 

\ \ , lad 
ov O€ Tivos Bpotoiow, 

, \ , 
Dépeos yAukus mpopyrTns 


92 


15 


10 


15 


MELIC POETS 


did€ovot pév oe Movoa, 
durée, d€ Pot Bos avros, 
huyupnv & edwxev oipny. 
TO O€ ynpas ov GE Tepe, 
, ? vd 
cope, ynyevyns, Pirvpve: 
amalys 5’, avaiooapKe, 
ayedov el Deois opotos. 


XXII (88) 
EI> EPOTA 


Py) » 9 c 7? 

Epws tor €v pddoioww 
KOLLOLEVNY Le LTT AY 
ovk €ldev, aAN’ ErpdOy 

‘ - “is 
Tov OdkTvAov: TatayOeis 
Tas xelpas wAddAvEev: 

\ \ \ , 
dpapov dé kal wetaabeis 
‘ \ XN “4 
Tpos THY KadnvY KvOypyp, 

Ohw@da, MaTEp, ElmreEV, 
Oh\wda KaTrobyyoKw: 
Odis p eTuWe puuKpds 
TTEPWTOS, OV KaANOVOLW 
pedutTav ob yewpyot. 

ea 9 oa. * , 
a eimev: ei TO KeVTpOP 
TOVEL TO TAS PENITTAS, 
MOOV OOKELS TOVOVELY, 
y , 

Epws, ogous od Baddes ; 


10 


15 


EI> 


5 


ANACREONTEA 


XXIII (34) 
EI> ®IAAPI'YPON 


c nw ¥ nw 
O mXovros eu ye Kpvaov 
70 (nv mapetye Ovyrots, 
3 iA , 
éxapTepovy pvAatTwv, 
72> Ai RES 
ww, av Oavety ér€rOy, 

, \ , 
haByn Te kat TapedOy. 

> a> 4 \ \ , 
el 0 ouv TO py TpiacBaL 
To (nv eveote Ovyrtots, 

, . > “A 
TL Kpuoos weet pe; 
Pave yap el Témpwrat, 
Ti Kat paTnv oTevala; 
Ti Kal yoous TpoTeuTa ; 
EOL YEVOLTO TIVELY, 

‘4 > > e 4 

mudvtt © olvov Hovy 
3 la) / A 
Epous pidous TvvELvat, 
3 > ¢ a) , 
év © atradatot Koiraus 
TeXewv Tav “Adpodirav. 


XXIV (87) 


EATTON H EIS ETAIPON 
MIPESBTTHN 


~ , , : 
Pir@ yepovta TEpTvor, 
@ik@ véov YopevTav : 
x ae Is 4 
dv 8 6 yépwv xopevy, 
Tpixas yépwv mev eat 

‘\ \ 2, 4 

Tas d€ dpévas vealen. 


93 


94 — MELIC POETS 


XXV (48) 
EIX OINON 


Y / ‘ Ky 
Orav iw TOV oor, 
Y 
EVOOVTLY al PEpLuval. 
Ti Ol YOwV, TL LoL TOVwY, 
Ti Mor MEAEL MEPLLVOD ; 
a “A x \ 
5 Oavety pe Set, Kav py Pedro: 
4 \ / la 
Ti TOV Biov TAAVYaaL ; 
it > 
TiwWMEV OVV TOV OiVOV 
‘\ “~ ~ 4 
Tov Tov Kadov Avatov: 
\ ”~ de / ec “A 
UV TH OE TIVELY NAS 
Y 
10 evdovow at pépipvan. 


SIMONIDES OF CEOS 


Simonides of Ceos excelled in various branches of lyric 
poetry, but has become especially well known from having 
his name associated with a multitude of epigrams of peculiar 
beauty and expressiveness. He was born 556 s.c. He was 
perhaps a musician by inheritance, and is referred to by tradi- 
tion as holding an official position as choir-leader in his native 
island. He gained such proficiency and reputation as to win a 
place among the distinguished poets who graced the court’ of 
Hipparchus at Athens. After the death of his patron and the 
expulsion of the Pisistratidae he seems to have spent some 
time in Thessaly, though he was afterward prominent once 
more at Athens. In his old age he was also at the court of 
Hiero at Syracuse. He died 467 s.c. 

It was in connection with the stirring events of the Persian 
wars that he did the work which has won for him the highest 
admiration. To find the words which shall best express the 


SIMONIDES OF CEOS 95 


commendation of the people for the men whom they wish to 
honor is always one of the highest services of genius. As among 
the Greeks the monument was the chief instrument of publi- 
cation, the inscription which it bore must be suited to describe 
the highest character which the age could produce; and as this 
was to be read by all, it must express the mind of all. The vir- 
tues of the heroic dead received appropriate recognition in the 
epigrams of Simonides, which are models of grace and suggest- 
iveness, worthy to be cut in marble to be read by successive 
generations. 


I (4) 
EE PRISE Tale Nh hs ae 
Ne, Tease PS les SD Boe es MF ple NS 
>| wav to HY gp iy 
“yu Av 4u 4 Ly 
5 SE pee Pee heats Me Ot Ai SOL 
SA SS Ss LOS By LA 
ARS A ENG) ho Gwe LN 
SS a yt OS 1 LA 
is Os fay 


Tov év @eppotvdAas Oavovtwr 
> ‘ \ c 4 ‘\ >, ¢€ 4 
evKhens pev a TUXA, Kads 8 6 TOTHOS, 
\ x ¢ , \ , \ A ea 
Bopos 8 6 Tddos, mpd your dé pvactis, 6 8’ oiKTOS 
ETALVOS ° | 
3 4 \ a) ¥_ 3 > 4 
evtdduov S€ ToLOvTOV OUT EUpas 
+5 ov0 6 TavdapdTwp apavpace Kpovos. 
> a » a) 4 ‘ > /, b] , 
avopav 8 ayabav 60€ onkos oikéray evdokiav 
‘EAXddos ethero: paptupel Sé kai Aewvidas 
Lraptas Bacihevs, aperas péyav edouTras 
KOOLOV aevaov Kéos TE. 


96 MELIC POETS * 


EIINIKOS 


SKOIAI TOI KPEONTOS ®ESSAAOI 


II (5) 
Su Av 4u 4U LAN 
wult> te sow 20 40 2 Sy 42 26 
ee 
Wol lw h haw Ar: ee eas as, oa 
es | £99 Wey ge NN 
5 Shia) th a hay aN 
ee a ey Bey 


rp. a 

"Avdp ayalorv pev arabéws yevéo bau 

xaherov xEepolv TE Kal TOOL Kal VOW TETPaywvor, 
avev Woyou. TETUYLEVOD ' 

a Xd F \ > + b aN n>) , > > Ee 

Os av ) KaKos pnd ayav amadapmvos, Eldds y’ dva- 
citrokw dikav 

e \ b] , > \ 4 b] , 

Vyins aVHpP* oOvVdE MH py eya 


peopdoropat: Tov yap adiHior 


Or 


dqretpo yeveOha. 
TAVTA TOL KANG, TOLOL T ALO VPA [LT MEWLKTAL. 


eh B 
Ovdé wou Eupedews 76 IlurraKevov 
la) 3 
ve“eTat, KaiTOL Dopov Tapa Pwros Elpnuevov: Ka- 
Lewov har €oOdov Eupevar. 
‘ x / ne | ee "4 ¥ 5 5 > y 
10 Beds av povos TouT eyor yépas: avdpa O ovK EoTL 
py) OU KAKOV Eupevat, 


SIMONIDES OF CEOS 97 


a > l4 os , 
dv auayavos cuppopa Kabedy. 
Tpacas yap ev Tas avynp ayabds, 
Kakos 0, €b KaK@S (TL)> ; 
\ ‘\ A A \ N , 
Kat TO TAELTTOV apioToL, TOUS Deol did€wvTt. 


Srp. y 


¥ ¥ Sk Put, eh \ , 
15 Tovvekev ovtoT éy@ TO py yever Bou 
\ “4 \ 3 ~ 3 4 aA 
duvarov Siljpevos, Keveav és ampaktov eATriOa pot- 
pav atavos Bahéw, 
, ¥ > 4, 4 \ > 4 
Tavapwpov avOpwror, evpvédous Ooo KapTov alvw- 
pela yPovds - ' 
3 4 > € \ 3 , 
ETL T UpLLLY EVPaV aTraryyEehew. 
, : alee, 7 \ , 
mavras © eraivype Kal pir€, 
20 EKOV OOTLS Epon 
de > , > £ S Oe x , 
pndoev ataxpov: avayKa d ovde Jeot wayovrau. 


@®PHNO> 
III (37) 


STROPHE 


98 MELIC POETS 


EPoDE 
0 vvult> “~we eur su ZA 
me ie a Ne Le 
RS AR ER AS EO Re Es 
wc Nigh a oe SR eas wal Neos lee TN 


A UL how (WE es L2G 
15 wawl tS a SMe A RU Cece ot ay 
AC a ORO in ORO, 
nat eg al! Ee Os Rg po 


=r popy 

"Ore Adpvaxt KeiT Ev SaLdadéa, 

»¥ , 5: 3 td 4 “~ , 4 

avewos T epope py Tréwy KivynOetoad TE iva, 

Seta MpowelpTE TOT OVK AdLaVYTOLOL TapELats, 

api te Ilepoet Badrde didrar yep’, eirey 7’: @ TEKOS, 
5 olov exw Tévov: ov O awrets: ) 

~ 4 oe yA 5 5 A 
yarabynvea dabei kvdcces Ev atepTeEt 
Sovpatt xarkeoyoupw 
A b> ] nw , 4 \ 4 

VUKTL ANaPLTEL KUAVE@ TE dvodw KATAAELs * 

Y : Mg 1S a A A 

ahpav vepUev Teav Konav Babetav 


"Ezwdos 
4 4 b] > -, sQ?. 3 4 
10 TapLovTOS KUaTOS OVK aE€yeLs, OVD avEWwY 
pldoyyov, topdupea 
4 3 f 4 i 4 \ * , 
Keiwevos ev yNavidr, Tpdcwmov KNVEev THOT aT. 
> , \ / ‘\ > 
et O€ Tou Sedov TO ye Seuvov Hr, 
Kal Kev E“LO@V pynuaTwy hemTOov UTELYES OAS. 


SIMONIDES OF CEOS 


15 KéNopas 8’, evde Bpedos, evderw SE TdvTos, 
EvdeTW O ApoTOV KAKOV: 
petarBoria dé Tis havein, Zed warep, 

5 , Y \ , ¥ 
ex o&bev: orti d€ Papoadéov eros 

¥y ts 4 , , 
evxopa voodu Sikas, ovyyvali jor. 


IV (58) 
hong shong Kons hws EN 
vo aby eee me ee Re ge eco 


"Eotu Tus \dyos Tore Tay apeTay 
vaiey SutapBarous emt TETPALS, 
vov dé piv Oe@v yopov ayvov apderery, 
ovo amavTav Breddpo.s Ovatav exorror, 
5 @ py SaxeOupos idpas 
evdobev porn 0’, ikntai T és akpov 
avopeias. 
EMIT PAMMATA 
V (89) 
Aiphvos edunOnpev b7d mrvyi, ona 8 ep Hutv 
éeyyvbev Evpirou Snpocia Kéxurat, 
ovK adikws: EpaTny yap aTwré€oapev veoTynTa 
Tpnxerav torepov SeEdpevor vepedAyv. 


99 


100 MELIC POETS 


VI (90) 
‘EXAyvav tpopayourtes AOPnvaio. Mapafban 
Xpucopopwv Mydwy éeoropecav Svvapuv. 
VII (91) 
Mupudow more THOSE TpLakoTiats EuaKoVTO 
> , 4 , 
ex Ilehomrovvdcou yiduddes TETOpes. 
VIII (92) 
"OD. Eety’, ayyéddewy Aaxedapoviois, ore THOSE 
KeiweOa, ToLs Keivov pypace TevOouevor. 
TX (94) 


Mvyjpa T60€ KAELvoto Meyiorria, ov mote M7Sor 
DLTEPKELOV TOTAMOV KTELVAY apLEnpapeEvoL, 
, a. , A > , , 30 7 
peavT.os, OS TOTE Khpas emepxopevas odda elds 
> ys / e / a) 
ovK eTAn YrapT EMOVaS mpoduTrEv. 
H RTapTys HyEMovas mp 


X (95) 


ERixdéas aia xéxevle, Aewvida, ot wera oeto 
AQ »¥ , > / ”™ 
70 Cavov, Xmapryns evpvydpov Bacided, 
/ \ 4 ‘\ > , , yY 
trEelaotav by TOEwv TE Kal OKuTOdeV GOvos iTTeV 
, - Bagh) A 4, i4 
Mndciwy tT avdpav deEdpevor Torenw. 


XI (96) 


"0, Ect’, evvdpdv tor’ évaionev aot KopivOov, 
a > ¥ 1 ¥ ~ y - 
vov 0 app’ * Atavtos vaoos eye. Sadapis: 


1B. dw. 


SIMONIDES OF CEOS 101 


evOdde Powiooas vnas Kat Iépoas ehdvres 
kal Mydous iepav “EXNdda pvodpeba. 


XII (97) 
"Akpas eotakutay emt Evpov EANdda Tacav 
Tats avT@v wuyais Keiwela pucapevor 
SovrAoovvas: Iépaais 5€ wept dpeot mHpata TavTa 
nbapev, apyadens pyywata vavpayias ° 
b] , > PU sy ¥y , \ \ 4 
doTéa 0 dpuv ever Yarapis: marpis d€ KdpiwAos 
avT evepyerins pvnp emeOnKe Td0e. 


oO 


XIII (98) 


Otros "Adedvrov Kelvouv Tddos, ov dua Bovhdas 
“EdAds €XevGepias audelero orépavov. 


XIV (99) 
"Ao Beorov kdéos olde dirty wept matpid. Oévres 
, , 5 4 , 
kvaveov Gavarov apdeBadorto védos ° 
lovde TeAvaor Oavdvtes, Erei oh apeTr KabvrepOev 
, ae Sey , 2° Fah 
Kuvdaivova avayer Soparos €€ ’Aidew. 
XV (100) 
Et 76 Kad@s OvnoKe aperns pépos EoTi beyLorror, 
Np EK TAVTWY TOUT ATEVELLE TUYY ° 
"EAAaOs yap omevdovtes eEhevOepiny mepiOeivar 
Keine? aynpavTa xpopevor eddoyin. 
XVI (101) 
Tlatdes “APnvaiwr Ilepoav orparov e€ehaoavres 
npKkeray apyahénv marpidu Sovlocvvyyp. 


102 MELIC POETS 


XVII (142) 


* 
"EE ob 7 Eipoémny Acias Sixa movtos eveper 
\ / aA aA x ae FS 
Kal 7oAvas Ovntav Govpos “Apns éedéret, 
b) ‘4 / b] x 4 > 3 la 
ovdevi Tw KaA\OV ErLXOoviwn yéver’ avdpav 
Epyov ev HTEIPW Kal KATA TOVTOV OpMod. 
5 olde yap ev yain Mydwy todXovs dd€oavTes 
Dowikwv Exatov vavs €dov év TEAdyeL 
> “A 4 , > » 3 A €.9 7 A 
avdpav trnfovoas: péya 8 eoreverv Acis tr avTav 
mryyeia aupotépars yepot Kparer Tod€uov. 
XVIII (110) 
Onpov pev Kaptiatos éyd, Ovatav 8’, ov éya viv 
ppoupO, TOE Tahw Adivos éuBeBads: 
> > > \ 4 , 3 , »¥ , | Pas 
arr et wn Ovpov ye A€wv éudv ovvopd 7 eixer, 
ovK av eyo TULBo TOD eTeOynKa Tddas. 
t c 
XIX (119) 


“A \ 3 %! 4 4 3 , l4 
Loma pev addodamy KevHe Kdvis, ev S€ oe TOVTY, 
KveioGeves, EvEeiva potp extyev Oavarov 
mralouevov: yduKepou Se pehidpovos oikade vooTou 
wd 292 9 , /, b) , 
nutakes, ovd ikev Kéwv madi apdipvryp. 


XX (121) 
Tov avrTov Tis EkaoToSs ATOAAUpPEVOV AVLATAL, 
Nuxodixov b€ didou kat rods nde TrObet. 
XXI (169) 


TlohkAa dayov Kat modda Tidy Kal TOA Kak ElTrOV 
2 , ‘4 l4 € 4 
avOparous Keiwar TywoKpéwy “Pdd.os. 


BACCHYLIDES 103 


BACCHYLIDES 


Bacchylides was a nephew of Simonides, and, like him, was 
from the island of Ceos. The date of his birth cannot be 
determined. We learn that he was with his uncle at the court 
of Hiero at Syracuse, that he lived in the Peloponnesus as an 
exile from his native land; but that is about all that is told us. 
His date is probably a half-century later than that of Simoni- 
des, and he is younger than Pindar, who was born before 520 B.c. 

We had only a few brief fragments of his poetry until in 
1897 there were published by Kenyon under the auspices of 
the British Museum twenty of his poems, in various degrees of 
completeness, which had been recovered from a papyrus roll 
recently found in Egypt. These impress us with the graceful- 
ness and expressiveness of his poetry, and even if he lacks 
- somewhat of the grandeur of Pindar he is no unworthy asso- 
ciate of the Theban singer. Two of the selections which follow 
have been taken from these poems. The first, because of the 
address to Apollo (1.130), has been considered a paean, but 
we have very slight data from which to determine how the 
Greeks would have classified it. The second is of peculiar 
interest as an example of the dithyramb. 

The meter of the first selection is cretic or paeonic. For the 
variations which are permitted cf. G. 1689; HA. 1119. There 
should be added the forms — u—v and — v — as also allow- 
able. II is logaoedic. III is dactylo-epitritic: G. 1684; HA. 
1117. Schemes for the division of the feet are given — though 
there are a few inconsistencies in the text as it has been pre- 
served which are hard to account for; but our poet may have 
allowed himself considerable liberty in the correspondence of 
his lines. 


104 - MELIC POETS 


I (Kenyon 17) 
HI@EOI H OHSETS 


STROPHE 








d= ON ES MOY 8) 
ras i en rae ee 
Bi Se re CR gat ag 
NRE NC PsbS NE 9 a RE 
Wie = Age poe ioe te oe er re lap ae Oe ei 
hwy Wea dete et eee at ee 
ny Ne it ee he 
16 ese. SD ee 
uw Hv Bu 
7s FAD 
Spi he eS Es es 
Ni tah Oe WY OS 
15 Raat ener oN Vien 
Bt RO nae ate Smee 
Ne Ae 
Vitus tua + 
SR ie A ac Se ees pe 
/ U 
DOSS Pe a oy BE a ee 
Siew et 
er Sea oe Ce a 
PAS eine 1S BEBE es SO 
EPpopE 
ig Gee ey dee SB bea 2 aie 
NE Meas peepee, Foye 
woe a ar 


BACCHYLIDES 105 





eR eee NE Ak ee RT 
Ee I sam kt NI NP MRS SEP ask 
Be NG oe rh oe Gh ee 
BPs Pe es MP es 
y 
MAES Soa ORR RD Bae OE par ay rt 
10 WN here yekee yy BLCTSS Sead) 
ne NS et 
ft 2S i Sacer et ea 
Rg Le a oe ae 
15 ee re 
NP io, YA ge 2d 0 ey Gs ns a 
Pd et BE ie ee ea gee Sd ep 
Pe es og A 
Ato hs seen sean 
BN) ce Ly a eae 
arp. a’ 


Kvavompopa mev vats mevextuTrov 
, \ ¢e 4 aS \ A 
Onoéa dis Entra T adyaovds ayovoa 
Kovpous laovewv 
», , , 
Kpyruxov tapve 7éayos: 
As 8 > ar: 
5 THAavyEl yap ev hapeL 
Bopy.at titvoy avpar 
KdvTas EkaTt TodEuatyLoos “ADavas. 
kvioev TE Mivai Kéap 
imepaptruKos Oeas 
10 K¥mpidos aiva Sapa: 
xetpa 8 ovkére TapHeviKas 
¥ > 3 , 4 
atep? éparvev, Hier 
dé Nevkav Trapynider. 


106 MELIC POETS 


Boace 7 “EpiBoua yadko- 
15 Odpaka Iavdiovos 
exyovov. toev d€ Onaeds, 
pédav 0 um ddpvov 
, »” lA 4, e 
divacey oppa, Kapdiav Té ot 
4 + ¥y 
oXETALOV apvEev adyos, 
( Res ‘cc \ eX , 
20 eipev Te “Atos vie peprarou, 
OO LOV OVKETL TEGV 
»~ ~ ~ 
exw KUBEpvas PpEevav 
, ad an Y , 
Ovpov: trye peyadovyor, npws, Biav. 


> 
> "Avr. a! 


oTu pev €k Oe@y potpa TayKpatys 
25 GppLl KATEVEVTE Kal Oikas pémeEL TA- 
avTov, TEeTpPapLevay | 
aicav exm\nooper, OTav 
EhOn: od d€ Bapetay Kare 
XE MNTW. El Kal oe KEdVa 
30 Téekev €xer Ards bd Kpdtador “Idas 
pyetoa Poiwikos €pa- 
T@VUBOS KOpa BpoTov 
ad 3 \ b] , 
peptatov, ada Kaye 
Ilitéos Ovyarynp adveod 
35 TAabetoa TovTi@ TEKEV 
Tlocedari, xpvoedv 
, i 4 , >/ 
Té of Odcav idmoxKot 
Kdhuppa Nnpnides. 
TO O€, TOKEMapYe Kvoooiwr, 
40 Ké€XOpaL TOAVTTTOVOY 


45 


50 


55 


BACCHYLIDES 


bey 8 4 b) \ x , 
épuxev UBpw: ov yap av Oédor- 

a3 / 3 \ > Aw 
pp auBporov epavvov Aous 
> ~ 4 3 # 3 b , 
idetv aos, emei Tw HOw 
ov dapaceas aéKov- 

, ~ , 

Ta. tmpoobe yeipov Biav 

, Y ‘\ a ‘4 / o~ 3) 
deiEonev’ TAO EmiovTa Saiwwr Kpwvet. 


> ! 
Ex. a 


TOO ElTEV ApETALYLOS NPWS, 
Tadov o€ vavBarat 

> \ e 4 
avdpos umepadavov 
Bapoos: “AXiov Te yauBp@ yxodkdoat HTop, 
vpave TE TOTALViaV 

” imév te: “ hoo beve 
pnt, eimev Te: “ weyadooOevés 

a) , ¥ 7 a 3 / 
Zev TaTEp, akovoov: eTep pw adalléws 
, 4 ld , 

Poiricca NevKwAEVOS WoL TEKE, 
vuv TpoTELT aT ovpavov Doav 
TupiVeipay aoTpamar, 
Tam apiyvwtov: el 

\ ste Blane, , / 
d€ Kal ce Tpoilnvia cagixfovr 
dutevoev AtOpa Iooe- 
dav, TOVdE KpUaEoV 

‘\ 3 l4 
KELPOS ayAaor, 
\ l4 \ ~ 7 \ 3 / 

duxav Opdce TO cma TaTpds és Sdpous, 
¥y “4 , 13 , 
eveyKe Koo pov Balleias adds. 

¥ ee eee ee | , 
eloeat O al K Ee“as KAUH 
Kpovos evxas 7 

> , e 4 lA 93> 
avakiBpovTas 6 TavTwV mEdewy, 


107 


108 


70 


75 


MELIC POETS 


Srp. B' 

, Li + ane. . 4 
kde 0 apetpov evyav peyaoberns 
Zevs, vrepoxov Te Mivy Hvrevore 
Tysav dirow Oédov 

\ 4 lA 
Tarot mavoepKea Heyer 
aotpae 0. 6 d€ Oupappevov 
idav Tépas XEpa TETATCE 
‘\ > > 4 4 4 
Kdutav és allépa peveTTodenos Ypws 
EL , Fe ons $4 Qe la) \ iO 
ipev TE NOE, TU TA0E 
pev Br€rrets cady Ards 
nw ‘ > + > 3s 
d@pa: av Od opvu és Ba- 
pvBpopov éd\ayos. Kpovidas 
d€ To. TaTNp avak TedeL 
Tloovedav vréptatov 
Kdéos xOdva Kar Hvdevdpov.” 
a > A > 3 , 
@s ele: TO O OV Tah 
“ b] 4 > b) > b ] 
Oupos avekauTTeT , ANN Ev- 
TAKTwY eT LKplwY 
\ + 4 , 4 
aotalets Opovae, TOVTLOV TE VLV 
dé€ato Dednpov adoos. 
Takev dé Auds vids evdobev 
, , , > 4 
Kéap, KehevoE TE KAT OU- 
y b] / 
pov toyev evdaidadov 
al A - Pre Shes 3 "4 ~ ee 3 4 
yaa: poipa © érépay emdpavy’ 6ddv. 
Avr. 
y b > , , 4 
lero © wKUToptov Odpu: obéve 
. > \ 3¢/ / >» 
S nv Bopeas e€dmw tveova anra, 

4 > a) 4 

tpecoav 0 Abavaiwy 


BACCHYLIDES 109 


5 4 ~ 4 5 4 
néewv TOV YEVOS, ETrEL 
Y , , 
npws Odpev movrovee, Ka- 
A , + ey , , 

9 TA Aetpiwv T OMPatov Oa- 
Kpu €or Bapevav ETLOEY [LEVOL avaryKav. 
pépov de deddives aXt- 
VALETOL péeyav does 
Oncéa TAT pOs mrti- 

100 Ov Odor, bEyapov te Geov 

— porev. TOA KdvTas Ody 
ECOELOE Nypios oh- 

4 , > ) Q A > ] 
Biov Kopas: amo yap ayha- 
~ , , 4 
ov Naptre yulov oehas 

105 WOTE TUPdS, audt yalTats 
de REYOT ON LORS 
OLVEVYTO Toa Us Xop@ de rép- 
TOV KEap Vypotat Tocotv. 
Eloev TE TAT POS ahoyov didav 

110 cepvav Boom €parot- 
ow Apditpiray Sdpois: 

a viv aupeBadrev aidva topphupéav 


‘Ex. B' 
/ / > 3 4 : »¥ 
Kopaiot T ereéOnKev ovrAaLs 
> 4 / 
ApEpea TOKO, 
115 TOV TOTE Ol Ev yauLm 
dake Sddos "Adpodira pddois € <pepvor. 
amirTov oT. Saipoves 
hoow ovdev dpevodpars Bporots: 
yaa Tapa herrompuuvov pavyn. ped, 


110 


MELIC POETS 


yY 5 4 , 
120 OLALOLW EV ppovTiae Kvaotov 


130 


ETXaTEV OTPaTayéeTav, Emel 


‘por adiavtos &€€ adds, 


Javpa mavrecot. dp- 
Teo audi yviors Deady Sap’, ayhao-- 
Opovoi Te Kovpat dV ev- 
Oupia veoktitw 
t t 

wdodvEav, € 
khayev d€ révtos: yOeo 8 eyytbev 
véou Tavavieav Epara ori. 
Aahue, yopotot Kyniwv 

4 > 4 
ppéva tavleis 
orale Dedrroutrov eo Pav Tvyav. 


II (Kenyon 18) 





@HSET> 
wlt4 Su 4u Ly 
wits Lag Sons oo 
Ow See Lat 2g 
>| 4U ZU LY 
5 UIS Api Bing Sen 
Loe Snes ogy Pig 
Oo) Sr Bang SA 
Uu> “uu Ly ZN 
be ND USGA NSE LE 
100 >| uu 4U LAN 
ES Ry RY ee tS 
Olay Zag ey AGUA 
4G Ay Lu LAN 
wh Cs been ae ee ae ae 
15 LP AO ee ap 


XOP. A®. . 


5 


10 


15 


AID. 


20 


25 


BACCHYLIDES | 111 


rp. a’ 

Baowdev Tav iepav “Abavayr, 
tov aBpoBiov ava€ “léver, 

7 la Y» , 
Ti véov exhaye. yadkokoowr 
oddmvyE modeuniav aovddar ; 
Tus apeTepas yOovds 
dSvtpevryns opr auduBadre 
OTpaTayeTas avynp; 
n ANOTAl KaKOM“aKavoL 
TOLMEVWY GEKATL LHAWY 

- b oo 4 4 , 
aevovt ayéhas Bia; 

xX 7 , 3 4 
N TL TOL Kpadiav apvoce. ; 

, - , ¥ A 
dléyyou: dSoKxéw yap, et Tvs Bporar, 
ahkijwev emuKoupiav 
Kal TLY EpLEvaL VEWD, 

@® Iavdiovos vie kal Kpeovoas. 


rp. B' 

Néov 7Oev Sokiyay aperpas 
Kapv€ tootv Iobuiav Kédevbov : 
¥ >» , , 
abata 5 épya Neyer Kparatou 

4 \ ¢ la , > 
dwtds. Tov vTépBiov T Emepvev 
Livw, os toyve héptaros 
Ovatav Hv, Kpovida Avratov 
oeioiyBovos TEKos. 
oUv T avOpoKTovoV ev vaTraLs 
Kpeupvavos, ardobadov Te 


kipova Karéxravev. 


ray Te Kepxvovos rahatoTpav 


112 


30 


XOP. A®. 


30 


40 


45 


AIr. 


50 


MELIC POETS 


¥ , , , 
exyev: IloAvmnpovos Te Kaptepav 
odvpav e€€Badev IIpoxo- 
TTAS, APELOVOS TUX OV | 

/ “A , > nd a 
hwtos. tTadta dédorx Ora TeheEtrat. 


Srp. y' 


Tiva 8 éupev 7d0ev avdpa Tovrov 
héyer; Tiva TE OTONGY EXOVTA.;’ 
TOTEpa TV TOdEUNLOLS O- 
\ » / 
TOOL OTPaTLaY ayovTa Tolar, 
n povvoyvy ovV OToLoLY 
, ¥ @ oy. 2? 
OTELXELY, EUTOpOY Ol adaTar, 
é7 ad\odapiar, 
> ? \ y 
loxupov TE Kal adKyLov 
« \ 4 Y , 
aoe Kat Opacty, ooTE TOUTMV 
avdpov Kpatepov obévos 
¥ 5 \ eee r qn 
exyev; 4 Geos avrov oppa, 
A > 4 »” 4 
dikas adikotow Oppa pHyoeETat. 
> \ £2 aA ¥ 
ov yap pad.oy ale €p- 
SovTa pL) VTUXELY KAKO. 
4 > BE ~ ~ / A 
TaVvT €v TO OOMY@ KpoOVm TEEtTAL. 


Srp. 8! 
4 ¢ A / ce : A 
Avo ot PWTE OVOUS OMapTELY | 
héyer, Tept pardiporcr 8 wpors 
Ethos Eve * * * * * 

‘\ \ fa 4 "’ > + 
Eeatous 5€ OU Ev YepeTa akKoOVTAS 
KnuTuKoV Kuveay AdKat- 
vay KpaTos Ep TUpTOXaiToU, 


BACCHYLIDES 1130 


XiTava TopdUpeov 

OTEpvoLs T audi Kal ovALOY 

@cooahav yAapvo’ duparov dé 
6 oTiABewv aro Aapviav 

hoinacav drdya: maida 5° eupev 

TpabnBov, Apntov S dbvppdarav 

pepvacbat, 7ohemou TE Kai 

XahKeoxtUTov payas, 


60 diLnoOar dé didayddous ‘APavas. 


III (13) 


lew owe e aee ee LR) ee aes Te 
eee A ope EP eh eee Ee ee se 
Barer ae eee Se BS re kk 

Sin, to: ACR ee ge a ye ea a ee A 
eter neo ee oh hw ee Le LA 
ERIND EONS BE es BOF OO 

oe, | aaa os Sie eee 

Pah he cas Eh eee oe ey oh Rp ep 
ee pp Re kg LIN 
SMES: Gee SM Re oY se end ARNG OS Ie Se ee ee oe 
Oe Ue eee A 
Cena eR eee EON oS PS ie EE ye 


Tixres d€ re Ovatoiow eipyva peydha 
A a acy s > ee 

m\ovTov Kal peliyhooowr aovdav avlea, 
dardahewv T éTt Bwpaov Deotow aiferAar Boor 
Eavla proyt wnpa TavuTpiywv Te pydov, 

5 yuuvaciwv TE veos avrA@y TE Kal Kawov medeLY, 
3 \ , , IMRr 
éy S€ aidapodérars wopTakiw aidav 


114 MELIC POETS 


apeyrer toro. 7éAovTau: 
EYED TE AoyKore Eihed 7 dudpdicea dduvarar evpos: 
xahkeav 0 ovK eat. cadtiyywr KTUTos: 
10 ovde ovAGTAL pEhidpwr Vavos amd Breddpur, 
apov 6s Badia Kéap. 
, > 3 A / > b] , , > 
cuptrociwy & épatav BpiOovr’ ayuiai, mardiKoi 8 
vuvou préyovTan. 


IV (22) 
eA OF ele Ge Bao ee er 


/ , / 
> hy a ee PR ny aS Gp ee 


Avdia pev yap Aifos paver xp or, 
avdpav 8 aperay codiav Te TayKparys eheyxet 
adabeva. 


NOTES 


CALLINUS 


The poem is an exhortation to the Ephesians to rouse themselves from 
their indolence and fight for life and safety. 


Page 2, 1.1. Méxpts ted catrdxero be: how long do you continue to lie pros- 
trate? The card adds emphasis to the reproach and exhortation. k«a67- 
ga: appears often with a similar significance. Cf. Dem. Phil. A 9 ravrax7 
méddovras Huds kal KaOnuévous trepic Torx lferar.— Ted: = Tivos.—KOT : = Tére. 
x is used in the Ionic of the elegiacs and iambics in pronouns and inter- 
rogative and indefinite adverbs where the original palatal has in Attic 
been displaced by the labial 7.—@vupév: cf. eicdxev abris Oupdy évi orHbeccr 
AdBnre, Od. x. 261. 

2. apdureptxtiovas : the neighboring people of Asia Minor who must 
be always made to respect Greek energy and valor, who had learned to 
look to the Greeks for leadership and to a certain extent for defense. 
The word is apparently the same in derivation and meaning which appears 
in the shorter forms dudixrioves and mepixrioves, and which is evén more 
prominent in the form dudixrvoves (amphiktyons). | 

3. peOrévres: cf. Tyrtaeus iii (12). 44. 

4. arap: and yet; introduces with emphasis the contrasted idea. 

5. Hven when dying let a man make a last hurl of the javelin. tis as if 
Exaoros, cf. Il. ii. 382. 

6. &vSpt: G. 1174; HA. 767. 

8. Svopevéorv: G. 1175 and 1177; HA. 772.— dvopevéow is a strong 
word of personal feeling. In early times duvcpevyjs and éx pds indicate the 
enemy ; later wodéuios marks the movement toward that condition of 
mind where a man can be an enemy without being personally hated. — 
-Ommdre: the form is epic. The Ionic éxére does not double the x. 

9. Moipar: uotpa means first one’s share or allotment in life, and then, 
as personified, is referred to the being who makes the allotment. Homer 
refers to but one, except in the single passage I]. xxiv. 49 where the 
plural is used. As early as Hesiod, however, their number is given as 
three, and this conception of them gradually prevailed. 

115 


116 NOTES 


10. tr domldos xvid. : with valiant heart made tense beneath the shield 
when first the battle is joining. @doas from efdw (cf. L. and 8. III), mean- 
ing first to roll or pack together, is used of the warrior as crouching 
beneath his shield and also of a lion gathering for a spring; cf. Il. xiii. 
408 and xx. 168. 

13. av5p: subject of puvyetv.—et: epic and lyric (and in some cases 
dramatic) poetry may use e with the subjunctive where Attic prose has — 
édy or nv. There are even a few instances in Attic prose.. 

(15. épxerat: Bergk reads gpyera: and compares Dem. de Corona 97. 
On the whole I am better satisfied to keep gpyera. Cf. Od. ili. 165 adrap 
éyo adv vnvoly doddéouv, al poe érovro, petyov, érel yiyvwoxov, 0 6H kaka 
undero Satiuwv. Then comes the account of the return of many of the 
heroes, and finally how : 


madvras 5 ’Tdopueveds Kpyrny eionryay étaipous 

ot puyov éx modguov, movros 5é of ovTiy dmrnvpa. 
"Arpeldnv 5é kal avrol dxovere, vooguy édvres, 

ws T HAO’, ws T AiyurOos éunoaro Avypov bdeOpor. 


Cf. also Simonides of Ceos 65 6 5 ad Odvaros kiye kal Tov puybuaxor. 

17. qv te wa0y: a euphemistic expression for death, cf. Od. iv. 820 
Too 8 dudirpouéw kal Seldia, wh Te WAONC LY. 

Page 3, 1.19. ages: dvrdéios is more accurately used with this signifi- 
cance; cf. however Il. viii. 234 viv & odf évds dol efuev. Comparisons of 
this sort are suggestive. In the old Greek days the value of the war- 
rior was assessed by the poet in terms of the worth of a divine hero. Our 
modern poet says of Roderick Dhu (Lady of the Lake, vi. 481) ‘‘One 
blast upon his bugle horn were worth a thousand men.’’ So the old 
English ballad, 

Slain is Robert of Leycester 
That was mine own courteous maister 
Ilk limb of him was worth a knight. 
—See Ellis’s Early English Metrical Romances, p. 336. 


20. mipyov: so, Od. xi. 556, Ajax is called by Odysseus a mvpyos for 
the’ Achaeans. | 


TYRTAEUS 


I 


Page 4, 1.1. TeOvdpevar: this is made emphatic by its position at the 
beginning of the poem, and by its contrast to rrwxevew: to be dead as a 
fallen hero is glorious in comparison with being a beggar. — -ydép: helps 


TYRTAEUS 117 


the emphasis, suggesting at the beginning that this is urged as a motive 
for supreme valor, while it pomts forward to the exhortation vax dpeba 
kal Ovjcxwuev, lines 18 and 14. 
3. avrov: = éaurod. 
> tkyntar: cf. L. and S. IL. 38. 
8. elxwv: constrained by. Cf. Od. xiv. 157 revin etxwv. 

9. aioxvver: cf. Il. vi. 209 where Glaucus tells how his father sent 
him to Troy with the charge unde yévos rarépwv aicxuvéuev. — Kata: belongs 
with édéyxe, strengthening it, brings dishonor upon. Cf. Pindar, who in 
O. vili. 25 says of the young aristocrat, the object of his praise, Zpyw 7’ 
ov Kata fetdos éXéyxwv: also I. ili (iv). 22 dperdv studurov od Karerdéyxet. 

11. el... ror: if, as TI say. 

13. Ovpo: with spirit, 

14. Wuxéov: = fwis. 

15. adda: this conjunction is used frequently with the imperative to 
give force and liveliness to the exhortation. Cf. L. and §. II. 2. 

16. dvyjs: genitive with dpyere: be not the beginners of disgraceful 
flight and panic fear. ¢6Bos is the fear which shows itself in act, and in 
Homer in flight. 

17. Get to yourselves a stout and valiant courage. 

18. pnde prrouxeir : be not regardful of life. 

19. ov xrd.: whose limbs are no longer nimble. 

Page 5, 1. 20. xaradelrovres: abandoning; observe the emphasis of 
kaTd.—yepatovs: the penult is here shortened. The expression is one 
of honor, repeating the idea of radarépous, but emphasizing the claim 
of the aged to respect. 

21. aioxpév: peculiarly emphatic. Shameful surely is this.—rotro 
anticipates xelcda.—perad: among, used with the dative in poetry only ; 
mostly confined to epic poetry. 

25. With his hands upon his bleeding wounds. ¢idos, aS we notice so 
frequently in Homer, was used as a stronger possessive pronoun, some- 
what as the modern German uses the adjective [ieb. 

26. ray: ye resumes and emphasizes; the sight is disgraceful, you 
know it, and it rouses indignation to see it. —vepeonrév: though singular, 
is used with rd, as the singular makes the picture more distinct. Some 
editors read veweonrd, which may have been changed to avoid the apparent 
hiatus when the digamma of ide?v had been forgotten. — iSetv: limits veue- 
ontov like an accusative of specification. 

27. xpda yupvalévra: with body stripped; the participle agrees with 
dvdpa like the others. — véouos 8€ xrd.: but all is seemly for the young. Cf. 
Il. xxii. 71 véw 6é re rdvr éréockev. 


118 | NOTES 


Page 5, 1.28. dbp: while. —éxy: understand ris from véowr. 
29. dvBpdr kTh.: for men to behold with admiration and women with love. 
31. ed StaBds: with legs well braced. 


II 


1. *“AAX’. . . yap: as illustrated in the previous selection, these parti- 
cles are conventional associates of the imperative. They are joined also 
as implying a preceding exhortation in the mind of the speaker: Never 
yield, but be brave; for . . .—‘Hpakdfjos: the Spartans were Dorians, but 
the Dorians associated themselves closely in thought with the mythical 
sons of Heracles. Their invasion of the Peloponnesus was the Return of 
the Heraclidae, and their kings were specifically descendants of the great 
hero. These families of heroic lineage showed an expansive tendency. 

2. otmw xTr.: Zeus has not yet turned away his face; i.e. withdrawn 
his favor. 

3. doPeto Ge: cf. i. 16. 

5. €x@pdv xrd.: notice the chiastic arrangement with emphatic posi- 
tion of the adjectives; with hate for your life and with death’s dark Sate 
even as the sunbeams beloved. Cf. John xii. 25 6 moGv rhv pox qp. 

7. atSnra: destroying. 

8. éanr: aorist passive from ddw. 

9. hevysvrev.. . Stoxdvtav: G. 1102; HA. 742. You have had fre- 
quent experience of flight and pursuit. Cf. Il. xx. 257 GXN dye, Odocov fei = 
goueF GAAAwWY xadkhperw éeyxelyouy. 

10. eis Képov xrd.: you have been in them both to your fill. See L. and §., 
who translate ‘‘ to push matters till disgust ensued.’’ Cf. Od. v. 290 &nv 
é\dav xaxérynros. Cf. also Il. xiii. 815 and xix. 428. 

11. yap: refers back to the exhortation at the beginning. 

13. wavpdétrepo.: notice the comparative contrasted with raca: fewer 
' die, while they save from death the people behind them. Cf. Il. v. 531 aléo- 
pévav & avipav mdéoves cho, He wépavra: devydvTwy 5 ovr dp Kdéos SpvuTa 
oure Tis GAKH. Xen. Anab. I'i. 43 érdco wev wacrevovor Shy éx mayvrds Tpb- 
mou év Tos modeutKors, OVTOL wev KaK@s TE Kal aloxpas Ws él 7d Todd arobv}- 
oxovo.v, kTA. See 1, 31. 

14. tperodvrwv: the verb rpéw means primarily to tremble with fear, 
then to take flight. Among the Spartans 6 rpécas was the distinctive title 
of reproach for the runaway. See Herodotus vii. 231 dvedds re efxe 0 
Tpécas Apirrbdnuos kaNeduevos. That is, Aristodemus, having returned to 
Sparta from Thermopylae the sole survivor of the three hundred, was 
scoffed at as ‘‘ the coward.’’ Cf. Soph. Oed. Col. 1419. 


TYRTAEUS 119 


Page 6, 1.15. No one trying to rehearse these could ever complete the list 
of all the evils which come to a man if he suffers disgrace. 

17. dmiobe: used as adverb; as preposition it governs the genitive. — 
Saitew: connect with fryadéor, a horrible thing this is, this piercing a man 
in the back. The soldierly mind shrinks from even dealing such a blow ; 
how much more from receiving it: Bergk calls attention to the fact that 
the Spartans were accustomed to spare their enemies when in flight. See 
Plutarch’s Life of Lycurgus, ch. xxii: TpeWduevor 5€ kal vuxjoavtes édlwkov 
bcov éxBeBardcacbar 7d viknua TH dvyyn Tv Todeulwy, eira edOds dvex wpovy 
oure yevvatov ovTe ‘EXAnuiKdy Hyovuevor kbrrre Kal povedey drodeyouévous Kal 
TapaKkex wpnkoras. 

20. varov: G. 1058. 1; HA. 718. 

23. pnpovs xrd.: the shield, as used in the earliest times, was large 
enough to cover the whole man. Cf. Dict. Ant., art. Clipeus. 

24. yaorpi: the hollow of the shield. 

25. Sefirepq: the employment of the left hand has been pointed out 
in line 24.—év xeupt: the use of the preposition, rather than a mere 
dative of instrument, strengthens the idea of grasping. 

26. Addov: the crest of the helmet was formed commonly of horse- 
hair, arranged so as to look imposing and terrible. Cf. Hom. I]. vi. 467: 


aw & 6 wdis wrpds Ké\rov évSwvoio TLOHYnS 

- éxdlvOn idxwv, rarpos pidov dpi arvx Gels 
rapBhoas xadkdv T Hde NOpov larruxalryy, 
devdv dm dxpordrns KdpvOos vevovra vojeas. 


See also ili. 387. 

30. obtafev: fighting hand to hand. 

81. The significance of the common soldier disciplined and fighting 
in well-ordered ranks was long in gaining appreciation. Even in the 
Homeric poems it received some expression. Spartan history was a con- 
tinuous exposition of this theme. There are in fact few subjects more 
suggestive in connection with the progress of mankind than the develop- 
ment of the common soldier. The exhortation to individual valor joined. 
with mutual codperation and support points to the great secret of Greek 
superiority and Greek progress. Cf. Il. xiii. 181 domls dp dowid epede, 
opus Képuv, dvépa 5 avip: Yadov 5 immbxouor kbpvOes Naumpotor Padovory vevdv- 
Tw: os rukvol épécracav 4d\dAHAowtv. The description is repeated xiv. 215 
of the Myrmidons, as if the author felt very strongly the soldierly ideal ; 
but it was very slow in gaining much effectiveness. There is a difference 
here in the conceptions. Homer pictured the Greeks standing waiting for 
the onset. Tyrtaeus seems to have the actual conflict in mind as the 


120 | NOTES 


soldiers press each other in fighting, but it is the valor in the ranks that is 
expected to win. In the classical period it was the Spartan who espe- 
cially emphasized the value of the hoplite, the soldier fighting in the — 
line. Their estimate is illustrated in the speech of Brasidas to his troops 
as given by Thucydides iv. 126, where he says of the barbarians -otre yap 
rdiw @xovres aicxuvbetev av Nurety Twa yYdpav Biagduevoe krr. He adds also 
the argument of 1. 13 above, 6 bropelvavres éripepduevov cal, bray Kaipds 7, 
koopy kal rdger ad&is brayayévres tore TO dogades Odooorv adlterbe xrr. If 
you abide the onset, when opportunity comes, you can withdraw in orderly 
array and more quickly secure safety. 

32. év 8€: adverbial, moreover. This adverbial use of prepositions is 
common in Homer, but grows more rare as we approach the Attic stand- 
ard. They are very commonly joined with 6¢. 

33. memAnpévos: cf. Il. viii. 62: 


arap domldes dudadderoar 
Zrdnvr adrdAjAyor, Todds F dpumarydos dpwper. 


35. yupvires: light-armed troops. At Sparta they were made up from 
the Helots, who furnished servants, attendants, and light-armed soldiers. 
Their protection seems to have been made merely from skins, or leather, 
or even cloth; they fought with darts, stones, bows and arrows, or slings. 
The hoplites, on the contrary, were drawn up in the form of a phalanx, | 
with swords and long spears. 

36. wrwcodvtes: compare how Teucer shoots his arrows and then 
slips back under the protection of the shield of his big brother Ajax like 
a child under the protection of its mother. I]. viii. 271. 

37. avrovs: the enemy. 

38. mwavémAoot: wAyolov is more commonly joined with the genitive. 
The dative seems to be used as emphasizing the idea of approach. 


Ill 
Theme: Only bravery deserves honor. 


1. pvynoalpnv: the conditional clause appears in verse 11.—év Ady 
Tier Oar: = éraiveiv. 

2. aperfs: G. 1126; HA. 744. 

3. KvkAérov: ancient mythology gives various accounts of the 
Cyclops; but whether treated as the Titans, sons of Ovpavés and Tata, or 
as the giant shepherds of the Odyssey, sprung from Poseidon, they are 
always recognized as monsters of great power, 


TYRTAEUS 12] 


Page 7,1. 4. Oéwv: to be swift of foot was a heroic accomplishment 
among the Greeks.—QOpnixiov Bopénv: Boreas was said to dwell in a 
cave on Mount Haemus, in Thrace. 

5. T.Wwvoto: Tithonus was the beautiful lover of "Hds, at whose 
prayer he was endowed by Zeus with immortality.—gvfv: properly 
growth. In Homer always of the human form. 

6. MiSew: the fabled king of Phrygia, whose wealth was proverbial 
through all antiquity. —Kivipew: Cinyras was, according to tradition, 
king of Paphos, in Cyprus, credited with being the possessor of vast 
wealth by the favor of the gods, believed to be the originator of the copper- 
mining and other forms of industrial development in that island and 
the founder of the far-famed worship of Aphrodite which gave to Paphos 
its chief celebrity, while he was also a favorite of Apollo. He was, in 
fact, the personification of all which made Cyprus celebrated. Pindar 
says of him, Pyth. ii. 26: 


KedadéovTe pev audi Kivipay modddKis 
pauar Kurpiwy, rov 6 xpvcoxatra mpoppbvws épidyo’ ’ Addu», 
iepéa kridov  Adpodtras - 


There resound for Cinyras in manifold ways the praises of the Cyprians, 
him to whom Apollo showed kindly favor, the cherished priest of Aphrodite. 
—pddtov: = “ardor. 

7. Pelops could be regarded as excelling in all the chief attributes of 
royalty, —an origin on both sides traced immediately from the gods; 
vast wealth, which he was supposed to have brought with him from the 
East ; extensive dominion, which resulted in his giving a name to the 
Peloponnesus. 

8. ‘ASpjorov (the 7 is Ionic): the adventures of the heroes who 
fought against Thebes were only less famous in Greek poetry than the 
struggles before the walls of Troy. Among the Seven who first under- 
took this far-famed expedition, and again among their sons, the ’Emiyovo., 
who retrieved the disaster of their fathers, Adrastus was the leading 
spirit, at once the Agamemnon and the Nestor of the invaders. It was 
through his persuasion that the sons of the unfortunate heroes who per- 
ished in the first war undertook the second expedition. 

9. BovpiSos: the masculine form of the adjective Oodpos is especially an 
epithet of Ares (cf. 1. 34); the feminine form, as here, is especially fre- 
quent with ax, intensifying the idea of energetic physical force. 

10. Introduced as anticipating |. 20, q. v. 

11. rerAaly .. . opav: rAdw is followed generally by an infinitive. 
’ This use of the participle is poetic. As is usual in such cases, where a 


122 NOTES 


double construction is admissible, there is a difference in the meaning. 
The infinitive presents a conception, the participle a fact. With the 
latter the two verbal ideas remain more distinct. Cf. Soph. El. 943 
TrAval oe SpGoav av éyw wapavérw. 

12. opéyour’: attack. The verb signifies to strike with the spear-thrust. 
Cf. Il. iv. 306: 


ds 06 K dvhp dd av dxéwy Erep dpuad’ ixynrat, 
eyxer dpesdocOw: emer) rodv Péprepov ovTws. 


13. aebAov: the estimate placed on the prize at the Greek games is 
well known. 

14, épev: the infinitive with an adjective is quite common in Greek, 
and is used ordinarily in the active or middle. Cf. GMT. 763. 

16. doris dvap: = davip Tis bs. —SraBads: braces himself, and. —pévy: dv 
is omitted according to the usage which prevails in Homer in general rela- 
tive conditions, and is continued to some extent in later poets. GMT. 540. 

17. éri: join with AdOnra. 

18. wapOéyevos: hazarding. Cf. Hom. Od. ii. 237; ix. 255. 

20. ylyverar: from its radical meaning of becoming, gains with adjec- 
tives like dyads, cadds, xrX., the signification of proving one’s self. yiyvo- 
wat is largely thus used in Herodotus. Cf. Herod. vii. 226 Aaxedamoviwy 
dé kal Oeomiéwy To.ovTwy yevouévwv, Suws AéyeTar avinp Apicros yevéoOar Drap- 
Tinrns Acnvéxns. 

21. €rpee: gnomic aorist. G. 1292; HA. 840. 

22. toyxebe: checks, an aorist form (v. L. and §., sub oxé6w). 

25-26. The good soldier has his armor where it belongs, and is smit- 
ten through his mail and through his breast.—amoAAa . . . éAndAapévos: 
struck with many blows. 

26. mpdoGev: in front. Token of bravery, as the wound in the back 
was always the sign of the coward. 

28. xékynde: perfect with present signification ; is distressed. 

29-80. As attention to the rites of burial was one of the most sacred 
duties among the Greeks, so honors to the heroic dead were paid with 
double carefulness. The mounds and sepulchers, the funeral orations, 
and the representations of art, were all employed to call attention to the 
glory of a patriotic death. The honor of the brave man descended to his 
heirs ; so the r¥uBos and aides represent the two elements of the Greek 
conception of enduring fame and influence. Cf. Il. xvi. 674: 


évOa é Tapxvaoover kaclyvyntol Te €rat TE 
TUUBy TE oTHAN TE* TO Yap Yépas éoTi OavdrvTwr. 





MIMNERMUS Bie: 


32. mep: in Attic appended only to relatives and particles. Used 
largely in Homer, as here, for xaézrep. In Homer may also be used with 
kat separated from it by other words. In Od. vii. 224 kalarep without 
separation. 

Page 8, 1.35. ravnAeyéos: long-lamented (v. Autenrieth’s Homeric Dict. 
s.v.); cf. Hom. Il. viii. 70 S00 kfpe ravndreyéos Oavdrow. So Od. ii. 100. 
It is always an epithet of @dvaros. 

36. alxpis edxos: glory in battle. 

38. mwabev: having enjoyed. radcxw, to get this meaning, must be 
joined as here with another word suggesting it. 

40. BAdarew: to defraud. Cf. Od. i. 195 addd vu rév ye Geol BAdrrover 
Kedevov. . | 

41. oi xar airév: his equals, card suggesting similarity. 

42. elkour ék xapns: give place. To give place to the aged was one 
of the most prominent moral laws at Sparta, as it was in fact a recog- 
nized Greek principle that the younger should yield precedence to the 
older. Cf. Xen. Mem. B iii. 16 od yap kal 6506 rapaxwphoa Tov vewre- 
pov mpecBurépy cuvtrvyxdvovre mavraxod voulfera, kal KaOjuevov UravacT hvat ; 
There was therefore especial honor in receiving respect from one’s elders. 


IV 


2. modkvarav: genitive plural Doric form. The warrior class—that is, 
men of pure Dorian descent—made up the citizens at Sparta. 

4. The mind readily supplies Sef&@, it is so plainly suggested in dépu 
awa\NovTes. 

5. devddpevor: cf. Soph. El. 98 pux is ddedjoarre. 

6. mwarptov: so the Corinthian orator exhorting the Spartans and Pelo- 
ponnesians to war against Athens, according to Thucydides, urges, rdrpiov 
yap duty éx rv wéywv Tas dperas kTacOa, Thue. i. 123. 


MIMNERMUS 
I 


Page 9. Navvw: thotgh the name does not appear in the poems of 
Mimnermus, a collection of his verses was, according to tradition, known 
under her name. The fragment characterizes a life without love as 
utterly gloomy, and ending in a burdensome old age. 


1. xpvoqs: the epithet is Homeric. Cf. Il. iii. 64; Od. viii. 387. It is 
probably used as suggesting the general idea of splendor associated with 
the goddess, as Ares is xd\xeos. 


124 NOTES 


2. rebvalnv: optative of wish. G. 1507; HA. 870.—péAor: the mood is 

assimilated to the previous optative. G. 1489; HA. 919. 

4. Youth-time is the only joy. 

Page 10, 1. 6. atocypdv kal kaxdv: ugly and worthless. No trial was 
greater to a Greek than the loss of beauty. 

7. &pobl: connect with relpovor. 

10. @e6s: used frequently in Greek without the article to express the 
general conception of the divine rule. 


Il. Toe THREATENING SHORTNESS OF LIFE 


1. dba: the comparison is at least as old as Homer, even among the 
Greeks. Cf. Il. vi. 146: 


oln rep pUANwY yeveh, ToLRdE Kal dvdpar. 


2. avyys: dative. —atferar: subject refers to pvAda. 

3. whxviov él xpdvov: for a span (cf. Matthew vi. 27). —av0eow 7Bys: 
ef. Il. xiii. 484 Zee nBns dvOos. 

4. elSdres xTr.: by the will of the gods knowing neither evil nor good. 
mpos joined with the genitive has an extensive use with personal nouns to 
denote authorship, or to signify those from whom or at whose hands we 
receive anything. 

5. Kfjpes: the Fates presiding over man’s destiny, differing from Mofpa 
as being always associated with evil; so generally referring to death, 
and especially associated with violent acai, Thus Achilles speaks of nig 
two Kipes Il. ix. 411. For the general significance of the term see Jane 
Harrison, Prolegomena to the Study of Greek Religion, ch. v. 

7. plvvv0a: adverb used for predicate adjective. 

8. Brief proves the enjoyment of youth everywhere over the earth as far 
as the sun sheds its light. 

9. rwapapelperar: for rapayelynrar.—réXos wpys: the period of youth- 
time. — wpys: a season, and so a season or period in life; thus it came to 
be used for youth as the spring or prime of life. 

10. reOvduevar is used as expressing completed action, to denote the 
state of death; to be dead. 

12. qwev(yns: not properly extreme poverty, which is @vdea or. eevee 
but, like Latin paupertas, narrow means. 

13. GAdos 8: refers back to 1. 11, d\dore, with which pév is omitted. 

14. “AtSnv: the word was originally a personal name used for the god 
of the lower world. So throughout by Homer, except as in Il. xxiii. 244 


MIMNERMUS is 


we have els 8 kev abrds éywy “Aidu KevOwuar. About this passage editors 
do not agree whether it is a later addition, or the reading is incorrect, or 
whether here is really the beginning of its use to denote a place. This 
was its later significance, while in Homer the place was denoted by the 
genitive of the proper name with the required case of otxos understood. 
Cf. Od. vii. 182 év’ AXxcvédor0. 

16. py S80t: GMT. 536. 


Ill. THe SHORTNESS OF THE SEASON OF YOUTH 


1. péer Gormeros: cf. Il. xviii. 402: 


mept dé pdos ‘Qkeavoto 
app@ woputpwv péev doeros. 


2. mrovapat: I am dismayed. The word expresses both excitement 
and fear. ° 

3. émel xrr.: but would that it continued longer. 

4. oAvyoxpévov: G. 925; HA. 617. The proximity of dvap helps to 
‘attract it into the neuter.—évap: cf. Theocr. xxvii. 8 rapépxerar ws dSvap 
78M. 

Page 11,1. 7. ret: renders; for form, G. 680; HA. 419 D. 

8. audixvbév: agrees with yipas. 


IV. SYMPATHY OF THE POET FOR THE TOILING SUN, BECAUSE OF HIS 
UNCEASING LABORS \ 


In this, in connection with the other fragments, the reader will notice \ 
at once the characteristics and tendency of Mimnermus: pensiveness ; 
sadness; a sort of moral indolence, shrinking from present evils and 
future fears, —these are his prominent traits. 


4. "Oxeavev: cf. Hes. Op. 566 mrpodurdy iepdy poov Nxeavoro. 

5. ebvh: cf. Hes. Th. 404 bolBn F ad’ Kolov roduhparov rOev és ebvipy. This 
passage from Mimnermus is one of a number of fragments of early poetry 
illustrating what a stimulus to gorgeous imagery in the mind of early 
man was the daily movement of the sun. We have suggested here the 
theory of the early Greeks that after his journey through the skies he 
was conveyed back behind the horizon to recommence in the morning 
the work of the new day. This journey was performed in a vessel which 
is generally represented as a cup (déras or giddy). Athenaeus (Deip. xi. 38) 
has gathered quite a number of these poetic accounts, and, as Heracles 
is represented as having borrowed the cup of “Hus, suggests that the 


126 NOTES 


poets may be making fun of the size of the goblets which the hero was 
accustomed to use. Stesichorus (8) refers to the sun as getting into his 
golden cup that crossing the ocean he might come to the dark depths of 
sacred night, to his mother and wedded wife and dear children ; that is, 
he transports him in the cup to the west. Mimnermus had in mind the 
chariot, érépwyv édxéwv, for the journey by day, but has tried to make the 
cup more appropriate and comfortable for the night by enlarging it into 
a winged couch. 

6. kovtAn: = xkoldn, aS duoios has a kindred fori: dpuotios. 

7. xpvoot: genitive of material. G. 1085. 4; HA. 729. £.—tbarétrepos : 
with wings. —&kpov tSwp: the surface of the water. 

8. “EorepiSwv: they dwelt at the western extreme of the world, but 
the locality was otherwise quite indefinite. 

9. Ai@iérav: according to Homer they dwelt partly in the extreme — 
East and partly in the extreme West (Od. i. 23). 

10. dp: until. 

11. oxéwv: the chariot in which he drives his daily course. 


SOLON 
I. SALAMIS 


Page 13, 1. 1. Solon is said to have feigned himself mad, and recited 
this poem, representing himself as a herald from Salamis summoning the 
people to recover the island. Plutarch says that the original poem con- 
sisted of a hundred very beautiful lines. —Adrés: is used in manifest 
reference to his boldness in undertaking the work, and venturing to 
appear before the people. 

2. Fashioning with arrangement of words a song, instead of a speech. 
Cf. Il. ii. 370 dyopy ukdGs. 


II 


The bitterness of the conflict through which the people had passed, 
and the disorganized condition of Athens, can be well imagined from the 
intensity of his expression. 


1. rér: if Salamis were relinquished. —@odéyavBpos and Zixwos were 
two small islands in the southern part of the Aegean, north of Crete. 

5. topev: the mode-vowel is shortened, and the stem-vowel lenge 
by a sort of transfer of quantity, to finan a dactyl. 


SOLON = tO 


: III. ADMONITIONS TO THE ATHENIANS 


An. address to the Athenians, apparently belonging to the early years 
of Solon’s political activity, lamenting the peril of the state through the 
selfishness and injustice of the citizens. 


1. kara... atoav: the aica or uotpa of the ancient Greeks, as repre- 
sented in the Homeric poems, was a destiny which controlled every 
man’s life, and from which there was no escape. Sometimes it seemed 
to hold a sovereign power even over the gods. As, however, the supremacy 
of Zeus became more completely recognized, aica was not allowed to come 
into conflict with his will, and was at length generally presented as 
dependent upon him. In Od. ix. 82 and I]. xvii. 321 we have Avs aioa, and 
here it is simply the fixed determination of the god. 

3. roly: intensifies the meaning of the adjective. Cf. Hom. Il. v. 828; 
Od. ii. 286. —émtoxoros: guardian. 

5. peydAnv: the city was great, had marked elements of success and 
power, even in Solon’s time. —aopabdiyoww: the dative plural is Homeric, 
as he employs only that case, except that he once introduces the dative 
singular, and once also we have 6¢ agpadins Od. xix. 528. 

6: xphpact meOdpevor: prevailed upon by gain. The expansion of com- 
merce and the extension of industry, aided by the fact that coined money 
was a new institution at this time, were bringing changes and even con- 
vulsions to nearly all of the Greek states. The accumulation of wealth 
in new hands was accompanied by a universal thirst for riches, and 
prought special hardship to the small landed proprietors. Athens was 
thus suffering from an industrial revolution. 

7. otow xrir.: for whom it surely remains to suffer many woes for their 
great wantonness. 

10. Sairds: connect with hovxin. The banquet was the symbol of 
peaceful social life. In later times Athens was famous for its festivals, 
and the feasts were always potent social and political influences in 
Greek life. See Dict. Ant., arts. Hestiasis and Erani. 

Page 14, 1. 18. éf dpwayq: even to robbery. été expresses the extent 
to which it is carried. 

16. t@ xpdvw: in time; at last.—7dW: gnomiec aorist. G. 1292; 
HA. 840. 

20. mAkinv: the civil war was especially sad as destructive to the 
youth. Cf. rara juventus, Horace, Car. i. 2. 24. 

21. &k Svopevéwv: by these hostile parties. éx, as usual, marks the 
source. ducuevéwy refers to the individuals whose selfish ambition was 
threatening the safety of the state. 


198 ri Ao 


22. ovvdéSors: societies formed for social and political purposes, such 
as were, at least in later times, quite abundant at Athens. They were 
often abused for unjust purposes. 

23. orpéherar: are rife. —S€é: moreover. 

24. The severity of the law, before Solon’s reformation of the code, 
was so great as to give the creditor unlimited power. The poor citizens 
were being sold and driven into foreign lands. In a later fragment (Bergk 
36) Solon claims that he has earned the gratitude of Mother Earth for 
removing from her the pillars which marked the mortgaged fields, so that 
she, formerly in slavery, was now free. He had brought back to Athens 
many of the people who had been sold into foreign parts, or who were wan- 
dering over the earth even forgetting their native tongue; and to many 
who were at home, oppressed by debts, he had given freedom. 

28. avActor Opa: the outer door which opens from the avAy to the 
street. So Athena journeys to Ithaca and orf 5 lédkns évl Sjuw eri rpodd- 
pas “Odvojos ovd00 éw addelov Od. i. 103.— &éAovor: with the negative 
é0ékw gains sometimes nearly the meaning of dvvayar. See L. ancS. 

30. et: G. 1406; HA. 898. b. 

32. Cf. Soph. Ant. 672 dvapxtas 5é¢ wetfov obk Eoriv Kaxdv. 


33. ebvouia: appears even in Homer contrasted with the hated vBpis. — 


In Hesiod (Th. 902) she appears as one of the “Qpea, which in the Iliad 
were personified as goddesses of the seasons and keepers of the gates of 
Olympus, but in Hesiod’s thought had a wider and more spiritual domain, 
being daughters of Themis, while the two sisters of Edvouia were Justice 
and Peace. So also Pindar O. xiii. 6. Pindar also speaks of Themis and 
her daughter all-glorious Eunomia O. ix. 26. Compare also Bacchylides 
xy. 54-59. So the word had lofty associations in Greek thought. 

36. avaiver xrr.: causes the buds of mischief to wither in their growth. 
The benefits of edvoula, here referred to, will be better appreciated as we 
remember how often the Greek cities had to call in the priest or bard to 
allay excitement and disorder. 

37. oxodkvds: Homer speaks of the anger of Zeus against men o? Bin 
ely dyoph oxodids Kplywor Oéuioras Il. xvi. 887. Hesiod has repeated refer- 
ences to the evil of crodal dixac Op. 219 and 250; on the contrary, ovdé 
wor lOvdixynot per Gvopdor Auwds drnde? 230. 


IV. DEFENSE OF THE AUTHOR’S LAWS 


Page 15, 1.1. Afpe: the commons, the mass of the people, in con- 
tradistinction from the dynroi, referred to afterward. —étrapxet: is suffi- 
cient, = drapkel. 





. ovF érropetdpevos: nor adding anything: 
- Xpqpaocw: G. 1182; HA. 780. 

. Geixes Exetv: that they should suffer nothing unseemly. 

. Gpdorépororv: Solon seems to have felt that his vindication as a 
reformer was found in the fact that he relieved both the opposing par- 
ties and satisfied neither. His work was that of a mediator. 


oI Pm © 0 


V. WRITTEN TO THE ATHENIANS AFTER PISISTRATUS HAD USURPED © 


THE GOVERNMENT 
1. kaxéryTa: baseness. 


2. Do not ascribe any part in these to the gods. 

3. rovrovs: i.e. tyrants. —ptpara: the body-guard given to Pisistratus 
by the citizens; or perhaps generally, protection and support. 

5. tpéwv xrr.: each one of you by himself walks as cautiously as a fox, 
and yet in your common action your understanding is of little worth. — 
GdA@rexos: the fox was, if possible, more thoroughly the symbol of cun- 
ning among the ancients than in our times. He gets into literature. In 
Archilochus he, or rather she (the noun is always feminine in Greek), is 
kepdadén 89. 5. And Plato quotes from Archilochus a proverb of the fox’s 
cunning Rep. 365 c. Pindar in his peculiar preaching in the second 
Pythian Ode puts the fox in bad company, and alludes to slanderers as 
dpyats ddwiréxwy txedo (1. 141). The fox was indeed a sort of Odysseus 
among the beasts, occasionally maligned but withal a good deal admired. 

7. opare: contrasted with BrAéreav: you are lookingat.. . you never see. 


VI. ADMONITIONS ADDRESSED TO HIMSELF 


1. Mvnpootvys: according to Greek imagination the goddess of mem- 
ory was the mother of the Muses. 

2. pot: the use of the dative gives to the verb the idea of compliance ; 
hear and yield to. - 

5. elvat yAukiv xrd.: depends upon dé7e. This sentiment reappears 
frequently in Greek authors as representing the received standard of 
righteousness. Cf. Matt. v. 48: ‘Ye have heard that it hath been said, 
Thou shalt love thy neighbor and hate thine enemy.’’ The Greeks rather 
assume its correctness as recognized and express their desire to live up 
to it. Archilochus with his usual frankness seems to indicate which part 
of the law he considers more important: fr. 65, 


“Ev 0 érisrapat péya, 
TOV Kak@s we OpGvra dewvots dvrapelBerOar Kaxors. 


130 NOTES 


6. To these an object of reverence, to those of terror. 

Page 16, 1.8. 8ixy: righteous penalty. 

9. wAotrov: inverted assimilation or attraction. G. 1035; HA. 1003. 

10. é« vedrov xth.: from lowest depth to highest summit. 

11. id bBpros: bd is thus used with active verbs where a passive is 
to be supplied, i.e. ‘‘ which men pursue because led by riotous feeling.”’ 

12. GAN «rX.: the figure is a striking one. Wealth gained by unjust 
deeds is like an unwilling slave always ready to break away and dis- 
appear. —evOdpevos: wnder the sway of. 

13. dvaployerar: governs T@ mdo’rw understood. — ary: evil. This 
word is really incapable of translation, as its personified use among the 
Greeks gave it a vast variety of associated ideas. “Arn became the god- 
dess of mischief, hurled from heaven for injuries done to Zeus himself, 
and making herself the author or aggravator of all the blind and rash 
actions, and largely even of the sufferings, of mankind. Cf. Hom. Il. 
xix. 91 and ix. 505. 

14. apxq: supply drns. 

15. dravpy: insignificant. 

16. 84v: adverb in predicate instead of adjective. 

17. But Zeus looks to the end of each life, and suddenly scatters the evil- 
doers as the wind of spring quickly scatters the clouds. 6é, as often, intro- 
duces an explanatory clause. —8uteonéSacev: belongs in translating to 
both clauses. 

22. eOyxev: like duecxédacev, gnomic aorist. 

25. ro.atry: refers back to wore.—ov8 éh' xrr.: not in each case 
does he prove, like a mortal, quick to anger. We have here the evidence of 
thought on the old problem of the delay of punishment for the wicked. 

27. Svaparepés: strengthens aiei: forever and aye. Cf. L. and S. s.v. 

28. mavrws xTi.: he is surely exposed in the end. 

32. If the father should escape, the curse remained for the children 
and children’s children. This doctrine was very prominent in Greek 
theology, being brought out with still greater distinctness in the 
tragedies. 

34. Syvedvev: to be cunning, from the same root as djvea, Sjw. 

35. axpt rovrouv: up to this point; Zill then. 

Page 17, 1.87. yaoris: cal doris. 

39. Serds.. . &yabds: the words are frequently placed in contrast, as 
expressing that character appropriate the latter to the higher class and 
the former to the common people whom they despised. 

42. «rhoerbar: the following passage illustrates very strikingly the 
eagerness for wealth already existing in Athens, a fact which is proved 


SOLON | 131 


even more fully by the troubles which led to the establishment of Solon’s 
government and constitution. We have still another suggestion of the 
estimate placed upon wealth in the,fact that Solon based the privi- 
leges of the different classes upon their wealth according to divisions 
which had apparently been recognized before his time. Cf. Aristotle 
Pol. Ath. ch. 4. 

43. xara mévrov: some idea of the naval condition of Athens at this 
time may be gathered from the fact that Solon obliged each. naucrary 
(old divisions, probably local, forty-eight in number) to provide one ship 
of war. 

45. ix@vdevr’: connect with réyrop. | 

46. dedwodAqv: this word, or rather ged its original, is used especially 
of property; he spares not his life that he may have wealth to spare. 
petdwrHv With Géuevos is a simple periphrasis for decdduevos. 

47. @dXos xri.: here, as in the following clauses, 6é correlative with 
pév (1. 43) is omitted. 

48. Aarpever: the Adrpis was the servant for hire, having a peculiarly 
unenviable lot while society was trying to organize itself on the basis of 
individual ownership of property.— roto. : = ofo.v.—KkaprtN aporpa: the 
combination appears in the Homeric Hymn to Demeter (1. 309) roda dé 
kaumvN dporpa udtnv Boes Exov dpovpais. 

49. Athena and Hephaestus were from Homer’s time associated as 
guardians of the arts, the latter of course especially of those connected 
with the use of fire, and Athena gives épya 7 émrlaracOat mepixadréa Kal 
ppévas éoO@dds Od. ii. 117. Cf. Od, vi. 232 and xxiii. 159: 


ws d bre Tis xpvodv wepixeverar apytpw avip 
YSpis Ov "Hoairros 5édaev cat Taddas ’AOhvn. 


51. ‘Odvpmasev Moveéwv: cf. Hes. Th. 52 Modcar Odvurlades, xotpas 
Avs aiyibxou.—8apa: G. 1239; HA. 724.a. So Plato speaks of dépa rép 
Move dv cal ’Aré\dwvos Leg. 796 5. 

52. Understanding fullness of wisdom with charming expression. Three 
favorite qualities of the Greeks are suggested, wisdom, proportion, and 
grace. 

53. €0yxev: makes or appoints. 

55. wx«rd.: the gods work with him to fulfill his words. 

56. olwvds: omen. 

57. IIaavos: it is characteristic of the fluid condition of the Greek 
myths that Maid», or in epic form Iajwy, appears in Homer and Hesiod, 
as’ here also, as if an independent diyinity of healing, while later the 


132 NOTES 


name is used especially as an epithet of Apollo, though associated also 
with Asclepius and some other gods. Probably the average Greek could 
not have told whether he thought,of Iadéy as a separate god or not. — 
moAvdappaxou: in Od. x. 276 used as an epithet of Circe, but in Il. xvi. 
28 of physicians in general. 

58. These reach no sure result. 

61. But another, who is afflicted with grievous and troublesome disease, 
he, by a touch of the hands, restores at once to health. Cf. Pindar, P. 
iv. 481: 

Tladyv ré cor Tia pdos. 
xpn na xépa mpoaBadrovTa Tpwuav EXxeos dugurodey. 


Page 18, 1.66. 4: =-7ot. Nor does any one know in the beginning of 
his undertaking how it will end. 

67. ed: the proper meaning of e@ gpdey is that of e& roetvy rather than 
of ef mpdoceyv: trying to do well, as we say ‘‘to do-his best.’’ —od 
mpovenaas: without anticipating it falls, etc. The sentiment is one to 
which the Greek mind. was peculiarly sensitive, the thought of the falli- © 
bility of the intellect which was counted of such supreme power. Cf. 
Soph. Ant. 615. 

71. wehacpévov: manifest. The danger lies in the success itself, never 
gaining satisfaction, but leading to wantonness (vfpis). 

72. Blov: wealth, abundance of living. | 

75. adrav: sc. xepddv.° Compare the familiar New Testament maxim, 
1 Tim. vi. 10. 

76. adore GAAOs Exe: i.e. it wanders from one to another. 


vil , 


It illustrates the manner in which the lines of these gnomic poets were 
confused as to their authorship, in their extended use in the schools, 
that these lines also appear in the elegiacs of Theognis. 


3. dperijs: genitive of price with diayewdoueba, verb of exchanging. 


Vill 


The tetrameters are fragments of a poem quoted by Plutarch in his life 
of Solon, addressed, as is stated, to a friend named Phocus. His words 
are most suggestive as to the influence which he held in Athens, and still 
more as to the character by which he had gained it. They are not less 
interesting as illustrating the talk of the day and the manner in which 


XENOPHANES | 133 


his conduct was regarded by practical politicians of his time. The oppor- 
tunity of seizing the supreme power they could not fail to see had been 
placed within his reach, and he had rejected it. Such a course of action 
was to them a ground for ridicule rather than praise. Obviously he had 
to introduce reforms which were largely unappreciated, to contend against 
a public sentiment which offered more discouragements than did the 
actual condition of the state. 


Remark of the critic who knows what he would have done in Solon’s 
place. 


3. When the prey was already caught he lost his head and failed to draw 
the net. | ‘ 
7. aoK«ds: the nominative came naturally into use in changing dépew 


_ doxéy to the passive. The construction in the active would be dépew Te Or 


Tivd OY dépev doxdy or the two accusatives together. In changing to the 
passive we may have déperal ris or doxds Séperar. Here deddp0a, while it has 
the same subject as 70edov, takes also doxés in the nominative ; so the nomi- 
native is used here as a sort of appositive to the subject of 7@edov. Some 


read doxéy here. 


XENOPHANES 
I. Tue Symposium 


Page 19, 1.1. It was after the dinner that the Greeks were in the 
habit of enjoying their wine. See Dict. Ant., art. Symposium. The poet 
introduces us to the scene just at the time when the drinking is about to 
begin. The selection is of especial interest as illustrating how Greek 
taste was being cultivated to the higher standard where improving con- 


yersation was especially valued in connection with the symposium, — 


{ameSov: = ddedov. Cf. év ruxT@ darédw Od. iv. 627. 

— 2. Gpcirvbet: for dudirlOnor, as if from riéw. Supply subject a&ddos 
uév, correlative with &ddos 5é.—orepdvovs: the garlands and ointments 
were an essential element in the ancient feast. 

4. éipootvys: good cheer. 

5. GAAos: aside from that which is in the xparjp.—s ovaore x7).: 
which promises not to fail. 

6. avOeos: G. 1107; HA. 742. It thus represents the part which causes 
the odor. The dv@os is the bead or crust of the wine. —odcSdpevos: for 
éfduevos. Cf. dvOeos dc5ovra Aleman 117. 

Page 20, 1. 7. dyvqv: sacred; so called because the \.Bavwrds was so 


_ generally employed for incense-burning in religious service. 


134 NOTES 


8. USwp: the wine was universally mixed with water before drinking, and 


even to take half wine was considered injurious ; to drink it without mixing | 


was regarded as barbarous. The water was commonly, though not univer- 
sally, cold; and sometimes the wine was artificially cooled in the puxrap. 


9. yepapy tpdmefa: the words apparently mean a table appropriate for — 


the occasion. 

11. Bwopds: an altar decked with flowers for the libations. —av: for 
ava. Cf. rotrwy dv 7d pécov orpwhjcoua Theognis 839. 

12. dpois exer: to fill, lit., to encompass. pod is ‘dancing and sing- 
ing, and therefore signifies j Pe and merriment. 


14. pbBots . . . Adyots: pHs is applied to poetic thought and expres- — 


sion; Adyos to historic statement. 


16. ratra: used with predicate adjective in the singular, as the pro- — 
noun represents the previous x ascent aaah These are something more | 


appropriate. 
17. mivew: depends upon xp7, l. 18; so also aivety. 


18. mpomddov: the attendant seal eas mavv ynpadéos: if not too 


far advanced in age. 


19. ds éoOAd x7r.: who talks of excellent things over the wine. Moral | 


and political topics, rather than ancient fables, should be the subject of 
conversation. 


21. Tirqvev . . . Tuyadvrav. . . Kevraipwv: these are the wonder- — 


stories which especially charmed the Greeks, and which they used with 
peculiar delight as symbols of the struggle of man with nature, of Greek 
culture with barbarism, of law and order with rebellion and confusion. 
The philosopher appears here in our author branding these myths asa 
meaningless creation of antiquity. Even as symbols they are too rude 
and degrading. He wishes the pure language of reason. 


23. rois: demonstrative, neuter. It is not until we reach the Attic | 


that the use of the article becomes fully established. 
24. Oedv mpopnPeinv: respect for the gods. 


II 


The poem is a warning against the danger of overestimating physical 
qualities at the expense of more noble traits. 


1; raxutrirt wosaév: the Greek stadium was originally arranged simply 
for the foot-race, and this always continued to be the prominent feature 
of the games. 

2. mwevraSdcvwv: the pentathlon gained its name as consisting of five 
distinct games in one. There is not perfect agreement among authorities 


oe he —— oe 


— sorte 


=) oT oe 


a ee ae a er oe 


XENOPHANES 135 


as to the combination, but the following has been accepted by prominent 
scholars: 1, dAwa, leaping; 2, dpduos, the foot-race; 3, dloKxos, throwing 
the discus; 4, dxédvrius, throwing the spear; 5, maddy, wrestling. The 
pentathlon became thus the center of special interest in the festivals, 
and the wrévyra@\o. were considered the best developed of all the athletes. 
— Ads trépevos: the sacred field of Zeus. 

3. IIicao: Pisa was the name of a fountain near Olympia. Thisseems 
to refer to a stream flowing from it. If so, the nominative would prop- 
erly be masculine Iions. —’OdAvpriy: there was no town there; it was a 
sacred grove, within and around which were the temples, and near by 
was the stadium where the great games were celebrated. 

4. éxwv xrd.: possessed of the boxer’s gifts. 

5. aeBArov: contest, connects with vixny dporro. —mayxpariov: combina- 
tion of wrestling and boxing, a contest which was an especially severe 
tax upon the these strength and endurance, hence decvév. 

6-9. KvBdpdrtepos.. . mpocSpinv. .. cit... Spov: the victor in any 

of the great games was rewarded with an aventenetion of honors: he 
was publicly crowned ; his statue was in many cases erected in an hon- 
orable position among those of the great men of the state ; he entered his 
native city in triumph; they even broke down their walls to give him 
entrance, in token that his prowess was better than fortifications ; he was 
awarded a front seat (mpoedpia) in all the public games and spectacles, 
and received a seat at the public table in the Prytaneum, being still fur- 
ther rewarded by Solon’s laws with a gift of five hundred ‘drachmae, 
which, it will be remembered, is the same sum which was required as in- 
come that one might be enrolled in the wealthiest class in the state. It ~ 
is a significant fact that Greek invention was hardly more severely taxed 
for any other purpose than to invent adequate honors for the winner in 
the Greek games. 

Page 21, 1. 10. trou: the Aifoiion to this method of gaining the 
victory is siaend last, both because it was esteemed honorable,—a con- 
test in which only princes and nobles could engage,—and still more 
because it emphasizes the contrast which he wishes to. present to the 
mind. Winning with horses one might receive these honors, but is not as 
worthy as I. Cf. Plato Apol. of Soc. ch. xxvi. 

13. GAN elxf xrr.: but it is very inconsiderately that the judgment is 
formed, i.e. giving such honor to the physical. 

15. wixrns. .. wevrabdciv. . . wmadkairpocivyv. .. TaxuTAre: the con- 
struction changes with poetic freedom and license; all depend upon 
ayadss. | 

17. ré6: neuter, referring to the thought in the preceding clause. 


136 NOTES 


18. popyns: connect with dyovi. 
22. pvxovs: the secret hidden apartments, so treasure-chambers. 


THEOGNIS 


Page 23, 1. 1. ava: vocative for dvat. This form is exceptional, used 
only as here in phrase # ava (contracted eva) and Zed &va, and only as an 
address to the gods. 

2. apxdopevos: the final syllable receives the iotan of the verse as if 
long. 

5. PoiBe: Apollo, as preéminently the central divinity of Dorian wor- 
ship, and apparently standing in a peculiar relation to Megara, is first 
and especially invoked. 

6. doivixos: G. 1099; HA. 738. It was under a palm-tree, beside the 
circular lake (Aiuvn) of Delos, that Apollo and Diana were born; the 
sacred palm-tree ‘was therefore carefully protected and cherished at 
Delos, cf. Hom. Od. vi. 163. The palm-tree had male and female forms, 
hence pass, feminine. Cf. Hom. Hymn eds ’Aé\\wva 117: 


dui dé dolvixe Bare rHXEE. 
7. Cf. Call. eis AfXov: 
xpuvc® dé rpoxberoa waviepos eppee Niuvn. 


8. areperin: literally, boundless. Cf. Aristoph. fr. 248 daxrvduov xad- 
Kodv dépwv deipova, wearing, that is, a ring which was an unbroken circle. 
The scholiast explains that if it were broken by a cgevdévn, a setting for 
a stone or seal, it would not be dzelpwv. So dmeipecin seems to refer to 
ee circular form of the island. ; 

9. oSufs: G. 1112; HA. 743. —éyé&\aoce 8 yata: the same expression 
appears in Homer in connection with the description a the marshaling 
of the Greeks (Il. xix. 362): 

yérdaooe 5¢ raca trepl xOwv 
xXadkod bd orepor 9s. 


The figure is also not unfamiliar to the Homeric Hymns. Cf. Dem. 14; 
Apoll. 118. 

11. O8npoddvy: compound adjectives are generally declined with two 
terminations; here by exception we have a regular feminine form. — jv 

. load’: refers to the setting up of the statue of the goddess, and the 
establishment of her worship in Megara. This was done by Agamemnon 
on his way to Troy. According to one form of the story he took Calchas, 
the seer, from Megara. 


: 


THEOGNIS its ¥ 


13. pot: cf. Solon 6. 2, note. 

15. Xapites: goddesses originally givers of fruitfulness, and invoked 
as presiding over festive joy and lending beauty to all social and moral 
life. So Theocritus refers to them as the givers of all that is lovely in 


life: ri yap Xapirwy dyarnrov dvOpwros dmdvevdev; del Xapirecow ap etnv. 


They were regarded as intimately associated with the Muses. —Kadpov : 
after the series of trials which befell Cadmus, Harmonia was given to 
him by Zeus as his wife, and the Olympian deities honored the marriage 
with their presence. 

16. deioar : for qoare. 

17. Orr Kkaddv, didov éori: this was apparently a proverbial maxim 
of considerable popularity. We find it again in Euripides: dr: caddy pidov 


def. Bacchae 881. So Plato Lysis 13 xara Thy dpxatav mapoimlay 7d Kaddv 


ptroy eivat. 
Page 24, 1. 19. codifopévw: speaking wisely.—odpnyis: the danger 


of suffering from plagiarism was even greater among the ancients than 


now. Theseal is apparently the form of address, the name Kupyve appear- 
ing in the verses; this was to be the standing proof of the authorship. 
The present collection of verses attributed to Theognis is sufficient illus- 
tration of the fact that the public was not greatly interested in preserv- 


- ing a man’s claim to his ideas. 


A oe ene te RA 


eT rs, Oy ae NE ee ORNS 


Vas 


ee eee Pate 


21. rovo@Ao0d: G. 1183; HA. 746. 

22. Oebyvidos: Ionic for Oedyudos. This is the regular Ionic contrac- 
tion of eo. 

25. IloAvratty: son of Polypais; patronymic referring to Cyrnus. 

27. ed hpovéwv: with good purpose. The adverb refers both to the 
prudence of the thought and to its good intent, and the phrase empha- 
sizes the one idea or the other according to the connection. 

29. wémvvo: for rémrvvco, imperative from rérvupar.—aloypotow ér 
épypaot: by disgraceful deeds. The preposition introduces the condition. 

30. EXxeo: gather for yourself. 

32. trav dayabav: the good in the eyes of Theognis are, generally speak-. 
ing, only‘the noble ; his political prejudice against the multitude is very 
strong. It is still further to be noticed that in this early age these adjec- 
tives had only partially obtained their later moral meaning. é@xeo, cling 
to, governs the genitive ; see G. 1099; HA. 788. 

34. Sivapis: efficiency, i.e. that kind of power which he felt belonged 
to the higher class. 

35. ér8Aav: depends on ézo following. 

39. The personal feeling of Theognis comes out plainly in his remarks 


upon the state. In the strife of factions he had been unfortunate. 


138 NOTES 


41. waddpoves: an epic form for owdpoves. 

42. rerpadarar: from rpérw. 

Page 25, 1.45. Sikas &8lkovor Su8d0.v: they surrender the law into the 
hands of the unjust. ; 

49. edt av: whenever. 

50. xépdSea x7r.: gains which can be acquired only in connection with 
public misfortune. 

52. povvapxor: the word appears also in Solon 9. 3: 


eis 6€ ovdpxou 
Ojos aidpin SovAocbyny Erecev- 


These are the first appearances of the term in our extant Greek litera- 
ture. Both passages suggest how the tyrant was recognized as the iney- 
itable outcome of political dissensions. 

53. The thought is that the city remains a state in form, but demoral- 
ized, if not ruined, by the elements which have been putin control. Only 
-a short time before, the condition of the Megarian peasantry had been 
very low. They were little better than slaves, of no consideration in the 
administration of public affairs. They had at length, however, in con- 
nection with the convulsions of which Theognis complains, made them- 
selves of account in the state. This was quite unendurable to the 
aristocratic notions of our poet. 

55. Sopas aly@v: so when Odysseus is disguised under the appearance 
of a rustic he has over his ragged garments the skin of a stag (Od. xiii. 
436). Hesiod Op. 543 recommends as clothing for the peasant 


pw oyoveyv Fy éplpwv, drérav kptos wprov €dOn, 
dépuara cupparrev vetpw Bobs, dpp éml var@ 
veToU dugiBary arénv. 


So the dipOépa, a garment of leather, was a common article of dress for 
the country people. 

56. €Aador: suggesting not mate uncouthness but cowardice. - 

57. d&yaGol: i.e. because they govern the state. 

58. éropév: GMT. 908. 2. 

62. & Auped : contrasted with ard yAwoons. 

66. ér: = erect. 

68. sani owkdspevor: past hope of recovery. 

69. xpvood re kal xrX.: to be valued as highly as gold and silver. 

Page 26, 1.72. yuvopévous: proving themselves; a frequent meaning of 
yvyiyvowa: with an adjective. 


nw et ee 


THEOGNIS 139 


76. ovs... ayo: not so many that one ship would not carry them all. 
— ayo: the optative is analagous to the use of optative without dv after 
gor ds etc., GMT. 241. Cf. Soph. Oed. Col. 1172 kal ris ror éoriv, bv ¥ 
éyw peal TH; 

78. Notice that képSos is the subject. 

79. & éxe: read as if Zxywv: while you have. 

81. Oéyevos: offering. 

83. Six’: used like an indeclinable adjective, doubtful. Similarly the 
scolion of Solon 42 warns of the man who 


padp@ ce mpocevvéry rpocwry, 
yrAaooa Oé of Six duvOos éx wedalvns ppevds yeywv7. 


85. opwns: the natural sequence of tenses would call for the subjunc- 
tive, but the optative is somewhat more indefinite. 

87. éraipos avnp pldos: companion and friend. 

90. opyqv: accusative of specification with Bapvy, unpleasant in char- 
acter. 

92. kal wor nee and some time in the future you will remember me, 
ie. have good cause to think of me. Cf. Sappho 32 pwrdcecbar rivd papa 
kal voTepov dupewr. 

94. ri ddedos: Of what use? This is the ordinary construction of the 
earlier Greek, with égedos as an indeclinable adjective; later it is gen- 
erally used as a noun with the genitive. 

Page 27, 1.96. éoAdv: good luck. — rot: = airod. — peradotv: for ue- 
radodvar, neither would he be willing to share it. 

97. It is an idle favor for one to do good to the base.-—€pdev: con- 
strued as usual with accusative of person, though sometimes it has a dative. 

98. tcov: like, the same as. Cf. Soph. Oed. Tyr. 1187 ws tuas toa kai 
TO undev fwoas évapOue. —mdvrov xri.: the waters of the hoary sea. 

102. éxxéxurar: has gone for nothing. Cf. Plato Crito 494 7 maou jyiv 
éxetvar ai mpbabev duoroyia év Tatcde Tats érlyats Huépars Exxexupevar eicty ; 

103. éravploxover: the active is unusual. 

104. pvijpa: = wvnunv, memory. 

106. evdAaBins: = evAdBeas: nothing else is of more consequence than 
caution. —mepi: see L. and S. s.v., A. rv.—Cf. Evenus 3: 


Hyoouar copias eivar wépos ovK éXdxXLTTOV 
6pb@s yuvyvwoKerv olos Exacros avip. 
113. od yap dv elde(ns: for you cannot tell. 


114. aplv weipyfetns: mpiv is used with the subjunctive and optative 
only after negative expressions, G, 1471. 2; HA. 924, 


140 | NOTES 


115. doamep xr. : just as when you go to market. You cannot judge of 
men as of salable wares. 

116. tSéac: outward appearance. 

118. drow: who care for holy right. 

Page 28, 1. 121. Cf. Soph. Ant. 619: 


copia yap €x Tov KNevvov Eros wépavTat, 
To Kakov Soxety mor éo bv 

TQS eupev Tw Ppévas 

Oeds dyer pds &rav. 


122. ylverar: is coming to. 

125. d00 ééAnow: conditional relative, with év omitted. 

126. xadrerfjs «rr.: hard helplessness sets bounds which hold him in, 
Observe that eipara is the subject. 

130. Ovynrav: depends on ovdels.— €rabev: aorist to deny a single 
instance, —no mortal ever escaped notice. 

131. Bowtdeo: choose rather. 

132. mwacdpevos: from mdoua, to acquire. 

133. ovdAAHPSyv: in brief. This maxim is also attributed to Phocyli- 
des (Phoc. 17). 

134. dya0ds: we can thus trace how a larger moral significance was 
finding its way into this word. 

138. mpddepe: reproach with. Cf. Hes. Op. 717: 


undé ror’ ovNouévyny tevinv OvuopOdbpov avdpi 
Téthad dvedliev, waxdpwv dds aidv édvrwr. 


139. radavrov: the scale with which Zeus weighed out the fates of 
men: for Zeus causes the balance to fall now in one way and again in 
another. This is a sentiment which constantly recurs. The Greeks, from 
the violence of their political changes, and their peculiar sensitiveness, 
suffered intensely from these sudden changes of fortune. 

141. Mamore. . . ayopadobar xrr.: never speak boastingly. Cf. Plato 
Phaedo 95 B (ch. xliv) where Socrates says °Q ’yae, wh péya déye, wh 
Tis nuav Backavia mepirpéyy Tov NOyov. 

Page 29, 1. 148. 1d 8 drpexés: exactly, completely. Cf. Herod. i. 86 as 
of etn ody Oe@ elpnuevor, 7d undéva eivar Tv SwovTwv SA\Bwv. It is a very widely 
extended reflection upon human life. 

146. ovSenia: of no account. 

150. kal yfpws: even more than hoary age. The genitive depends on 
the comparison suggested in uddiora. Cf. John i, 15 rpdrés wou Fp, 

152. purretv: understand éavréy, 


THEOGNIS 14] 


156. Sitnc@ar: we can notice how strongly the mercantile idea was 
getting hold of the Greeks. The fortune was not to be retrieved at home, 
but in trade and commerce abroad. This new sentiment partly causes, 
and is partly caused by, the influx of wealth. 

158. kal tis xrX.: and each one wishes these should come of excellent 
breeds. 

159. xaxynv Kaxod: base-born daughter of a base-born man. Kakyy, as 
also écO\és, is used with reference to the social rank of the parties. 

160. 886: refers for its subject to Kak. 

163. && kaKxod xrd.: the noble takes a wife from a base-born family. 

Page 30, 1.167. Airés: the multiplied nominatives emphasize the 
- enormity of his offense. Of his own free will, with full knowledge of 
what he is doing, in spite of his standing, he yields to the temptation, 
the pressure of need. 

170. évrver piv: urges him on. 

171 ff. We have here a revelation of the hope of the old nobles of * 
these times that the suddenly-accumulated wealth of the plebeians would 
vanish as rapidly as it had been gained. The doctrine seems to have been 
familiar to Greek thought. So Hesiod (Op. 325) speaks of the transitori- 
ness of unjust gains: 


peta Oé uv pavpovor Oeol, prviGover dé FotKov 
dvép. T@, wadpov 5é 7 éml xpdvov S\Bos dmnde?. 


172. xa8apas: without guilt. 

173. mapa kaipov: violating right. mapd, from its signification of pass- 
_ ing by, gains also the meaning of going beyond, and so of violating. Cf. 
Pind. O. viii. 82 ’Op0g Siaxpivery ppevl uh rapa Karpov. 

176. éyevro: syncopated form for éyévero, gnomic aorist. G. 1292; 
HA. 840. — twepéoye: keeps the control. 

177. 748: refers forward to the idea suggested in the following lines. 
G. 1005; HA. 696.—ém airot.. . mphyparos: in immediate connection 
with the deed itself. | 

179. One pays the penalty himself; another dies too soon, but leaves 
the curse upon his children. 

181. avadqs: shameless ; so, ruthless. 

183. trouxidov nos: it is to be remembered that the elegiacs of Theog- 
nis were a prominent subject of study in the Greek schools. The marked 
variety of moral precepts contained in them is certainly noticeable, 
especially as we are reminded how versatile were the talents which the 
Greeks thus developed. Jn this connection it is not uninteresting to 


142 NOTES 


compare Juvenal’s description of the Greek at Rome, Sat. iii. 75 ff. Cf. 
1. 506 below. 

185. IlovAdov: the polypus or octopus was a sea animal of changeable 
color. It became so well recognized as a symbol of inconstancy that we 
find in the zolnua vovénrixdy, which is ascribed to Phocylides but comes 
really from a date after the Christian era, the line und , WS meTpopuns 
moUmous, KaTa X@pov duelBov. Pseudo-Phocylides, 1. 49, 

186. iSetv: connect with rotos. J 

Page 31, 1. 189. Soxée: has an opinion. Cf. Soph. Ant. 707: 


boris yap abros n Ppovetv udvos Soxel, 
] YAOooav Hv ovk dros H Wuxhv exer, 
ovroar Startux bévres WPOnoar Kevol. 


195. The poet enters here upon a prophecy of the fame which he will 
give to Cyrnus by his poetry. It reminds one very forcibly of similar 
verses by Horace. 

199. aiAloxowrr: the natural accompaniment of the elegies was the 
pipe. 

204. apirov: connect with dvopa. 

208. loorepdvwv: in Homer an epithet of Aphrodite. 

209. dowdy: predicate with coy, and may also be taken as furnishing 
the subject for uéunnre. 

210. dbp av: as long as. 

211. Theognis was unfortunate and complaining, and evidently felt 
wronged by a lack of attention and respect on the part of Cyrnus. 

Page 32, 1. 213. This is a passage to which Theognis can hardly lay 
valid claim. In Aristotle (Eud. Eth. at beginning) there is given as an 
inscription from the Letoum in Delos the passage 


KddANuorov 7d dixatdrarov, ASoTov 6 wyaivev: 
mrdvrwy nowutov & ov Tis épg TO TUXELD. 


The Nicomachean Ethics (Book I, ch. viii) gives it as 76 An\axdy éri- 
ypaua, With the last line reading néirov 5¢ répuk’ ov Tis Epa 7d TuxeEIDv. 
There is also a fragment of Sophocles (Creusa 829 Nauck) which reads 


Kdd\Nuor bv éore ToVVEtKOy TepuKévat, 
AGarTov dé (7d) SHv dvocov, nOwrov F brw 
mdperre AnYWis by épa Kal’ huepay. 


We find also among a number of scolia which are given by Athenaeus, 
Deip. xv. 50, one which is somewhat similar to this passage ; 


x 


THEOGNIS 148 


vytaivery wev &pirrov avipl Ovare, 
devrepov bé€ kaddv puav yevéo bat, 

To Tplrov dé miouTeiv addd\ws, 

kal TO TérapTov NBay weTa TOV hirwy. 


Plato in the Gorgias (ch. vii) makes Socrates allude to this scolion as 
one that he had heard sung at the symposia. There are other passages, 
especially in Plato, which show that it represented a favorite type of 
Greek thought. — 

215. The rest gods give with equal hand to men. 

220. kara0qs: the subjunctive following thus in close connection with 
the optative is unusual, but it enlivens the expression by importing a 
suggestion of probability, and so of reality; nay, even; you may amass 
wealth. 

222. wrwxdv: we mark the change from an ancient, perhaps tradi- 
tional, state of society when strangers and beggars were from Zeus; cf. 
Od. vi. 207. 

228. && yaorrpds: from birth. 

226. kelvous: Sc. dvdpas kaxovs. 

228. rodpa: keeps his courage. 

230. kakinv. . . karéxew: get the better of his baseness. xaxia is the 
cowardice and baseness considered appropriate to an ignoble life. 

231. atrodkéooa: do not be mortally offended or do not spurn. 

235. érovra: év: belong naturally to. 

236. The gods punish transgressions ; men must endure them. 

Page 33,1. 238. We have here an evident reference, with some bitter- 
ness, to the democratic leaders, at whose hands Theognis and his friends 
had suffered. There was a constant redistribution of property in connec- 
tion with these political conflicts of the Greeks. 

241. ricw: ability to reward. — of pe prrctow: simply epexegetical of 
pirwy. 

242. Suvynodpevov: for infinitive, and to be more powerful than my 
enemies. The sentiment is very common in Greek thought. It is in fact 
pretty deeply rooted in human nature. Cf. Soph. Ant. 648: . 


ws Kal Tov éxOpdv dvTaptbvwvrar KaKors, 
kal Tov dirov Tiundow... 


Also Eur. Medea 809. 
244. arorurdpevov: when I had fully repaid all. — 
245. xalpvov: here an adjective of two terminations, 
246. avtl kakav: in return for my misfortunes, 


144 NOTES 


248. Solnv xrr.: give trouble in return for my troubles. 

249. aloa: seems to be used like kar’ aicay, fitting. —rlois ... dvipav: 
vengeance upon the men. ) 

251. kvwv: the simile is evidently used as well known in popular lan- 
guage for an emphatic expression of destitution. 

253. rav: i.e. Tov cvdnodvrwv. — ely: would it were possible! — dpovro: 
see L. and S. dpouac. 

255. kakxoto.v: the construction of rod\wéy with the simple dative is 
unusual, but appears twice in Theognis. In 321 below, however, we. 
have éy. 

256. rovrwv: G. 1097. 2; HA. 737. 

257. é: out of, and so denoting transition, instead of. 

258. ékStva.: intransitive. Second aorist infinitive from ékdtw or 
éxdtvw, to come out, to escape. Literally, to emerge as from the sea. 

Page 34, 1. 261. OdSevds avOpdrav kaxiwv: inferior to no man, ice. 
better than any other. 

265. wore porwBdw xpvods: as gold by the side of lead. Gold was thus 
tried by rubbing it upon the Lydian stone (so called because found in 
Lydia), which was known as Bdcavos. The color of the streak would thus 
indicate the quality of the metal. Cf. Theognis 449 (B.) woep drepOov 
xpuvoby, épvOpdy idetv Tp.Bduevoy Bacavg. Cf. also Bacchylides 22 (Bergk). 

266. teptepins . . . Adyos = breprepin: preéminence. 

267. Oipar. .. dpyddiac: the doors in Greek houses were made com- 
monly in the folding form, so that the words referring to them are gen- 
erally plural. — Cf. the adjective d@upéyAwrros Eur. Or. 903. 

268. apédnra: for which they ought not to care. 

269. To kakdv kaTakeiwevov: used instead of the infinitive and imper- 
sonal construction: for often it is better that evil should be left lying within, 
but that which is good it is better should come forth than that which is evil. 

271. émyGoviousw: G. 1165; HA. 767. — The sentiment is often re- 
peated among the Greeks: cf. Bacchylides v. 160 (Kenyon) 6@varote. ui 
pivar pépiorov und dediov mpoc.detv Péyyos. It finds its way also into the 
Latin: Cic. Tuse. Dis. i. 48, ‘‘ Affertur etiam de Sileno fabella quaedam, 
qui, quum a Mida captus esset, hoc ei muneris pro sua missione dedisse 
scribitur: docuisse regem, non nasci homini longe optimum esse ; proxi- 
mum autem, quam primum mori,”’ etc. 

274. érapynodpevov xrr.: having gained for oneself a goodly covering of 
earth. It is the word used in the Odyssey of the hero heaping about him 
the leaves when he is cast on the island of Scheria: edvyv éraujoaro xepat 
piryno. 

275, Cf, Plato Rep. 518 ¢, 


THEOGNIS : 145 


277. w: the antecedent is rodro. 

278. “AoxAnmddats: the term is used loosely for the physicians, who 
loved to associate themselves with Asclepius as the mythical head of 
their class. The mystery of the healing art was generally transmitted 
from father to son. 

281. wounrov . . . évOerov: the verbal in ros denotes possibility; if 
understanding could be manufactured, and placed within a man. 

284. The passage reaches a conclusion which was the subject of long 
and careful discussion in the schools of ancient philosophy. This passage 
is referred toby L. and S. (s.v. dya6és) as perhaps the earliest use of dyads 
with its moral significance. The word referred originally to the nobles, 
and then to the qualities which theoretically belonged to them; so it 
gained gradually the moral sense. For an excellent note on the use of 
the word see Grote’s Hist. part II ch. ix (p. 45 of vol. iii, New Edition, 
John Murray, 1869.) 

Page 35, 1. 285. darphrout: agrees with xpjuacr: impossible gains or 
schemes. 

287. Exercise yourself in virtue. 

288. 6... €y: conditional relative, dv omitted. 

289. The following passage is in a different style of thought, and 
manifestly does not belong to Theognis. The first eight lines are also 
attributed to Evenus, as line 294 is quoted as his. 

292. O@wpynx evr: the word is used repeatedly by Theognis for drunk- 
enness, and appears also in other authors. It is one of the euphemisms 
such as men are fond of using for human frailty, and sounds as if it 
belonged to popular speech. 

295. oivoxoeirw: subject unexpressed to give an indefinite force. Sup- 
ply olvoxéos. , 

296. ob macas vixtas ylverar: does not happen every night.—aBpa 
maletv: to indulge in pleasure. 

299. otvos xapiéoraros meméaOar: = xapiéoraroy oivoy ive. 

300. otre. . . peOdwv: excessive drinking was repulsive to Greek taste. 

302. xaprepds: master. 

303. dmdAapva: impracticable, foolish. 

304. He is ashamed at nothing when he is drunk. 

308. wore: like. —darpiv éhypéptov: day-laborer. 

809. ot 8 xrir.: you always repeat carelessly that ‘‘ Fill up.”’ 

311. 4 pév: sc. KUNE: one cup is to friendship. This illustration of the 
Greek method of drinking and conducting the symposium is very sug- 
gestive. —mpdxerrar: is agreed upon before, i.e. as part of an appointment 
or a wager, Toasts and challenges to drink were a popular part of the 


146 NOTES 


Greek after-dinner enjoyment, though the danger of their leading to 
excess was well recognized. Sparta was cited as the leading upholder of 
temperance. Cf. Athenaeus Deip. x. 41, where he quotes Critias: 


kal 760 00s Zardpry wedérynud Tre xelwevdy éorw 
mive Thy abThy oivopdpov Ki\iKa 

pnd arodwpeicOar rporéces dvouacri héyovra, 
und él deécrepav xelpa Kikr\w Oidoov.. . 


This is the custom and practice established at Sparta, to drink from the same 
wine-cup, and not to drink the health calling one by name nor to pass the 
cup to the right through the company. The text is somewhat doubtful, but 
seems, after thus characterizing the custom, to say that the habit of 
challenging in the drinking was brought in from Asia. 

Page 36, 1. 316. So Aeschylus in a fragment says xdéromrpov eldous 
xarkds €or’, oivos 5é vod. (Nauck 393.) 

317. tév: i.e. oivoy. 

319. xkaxév: G. 925; HA. 617. 

$23. Kexdfio8ar. . . mapéLeoOar: connect with ypedy. We find here 
again a suggestion of the later Greek ideal, that the highest attraction 
of the symposium should be quiet intellectual conversation. Compare 
Xenophanes (p. 20). 

325. rod: refers to dvipa éricrdpuevov.—ovveiv: old form of present 
infinitive from cuvinue. 

327. Todpav xrr.: one ought to meet with endurance what the gods im- 
pose upon men, to bear with ease the lot of either fortune. 

$28. Cf. Antiphanes fr. Meineke Ixvi: 


Td ruxns pépeav det yunolws Tov evyevh. 

TO wev GTUXRoa wavTos eival woe Soxel, 

dvipos 0 éveyxety aruxlav 6p0@ Tpéry. 
The noble must bear his lot nobly. To fall into misfortune seems to be the 
part of all, but it is a man’s part to bear his misfortune in the right way. 

329. ao@: imperative from dodopat. 

331. Ausod: = 7% Ayubs.—Kédpos denotes satiety, and, in its derived sig- 
nificance, the insolence which springs from wealth ; it carries its double 
signification here. 

Page 37, 1. 8335. drw dvipt: in that man with whom falsehood is joined. 

340. airds for 6 atrés: an epic use. Cf. Od. xvi. 188. 

842. arnpds xrd.: for the hasty man becomes the victim of Ate. 


2 


THEOGNIS 147 
343. "Edis: cf. Menander Nav«dnpos iv. fr. 4 Meineke: 


Kal dice: rws evdywydbv éore ras dvnp épor. 
@ Led roduriund’, oldv éor’ édris Kaxdv. 


—xlv8uvos: hazard, or apprehension. Hope and fear are singled out as 
the two elements which disquiet the life. 

345. map Sdfav re kal éAmrida: beyond hope and expectation. 

346. Bovdais 8: while for good plans there fails fulfillment. We are 
constantly reminded that Theognis lived in an age of disappointments, 
and he cannot refrain from being cynical. 

350. Oupdv: accusative of specification. 

354. per’ dvOpdrwv: among men, i.e. in my contact with men. 

Page 38, 1. 356. avipés: G. 1094. 1; HA. 782. c. 

357. In the following lines, the condition of the state is described 
under the figure of a ship in distress. It was a favorite illustration in 
ancient as in modern times; we find it in Alcaeus, and again in Horace. 
This selection again (fifteen lines) is also attributed to Evenus. 

359. mapépxerar: it passes unheeded, i.e. I let it pass in spite of my 


knowledge. Cf. Theog. 419 (B.) roddd pe cumévra tapépxerat. 


861. kal’ toria. . . Baddvres: this is an unusual use of xaraBdddw, to 
denote the lowering of the sail, which is generally expressed by xadedeZy 
or oré\Neo Oar. KatraBdd\dr\w is employed here to suggest haste and sud- 
denness. ; 

362. MnAlov éx mévrov: the Aegean sea, or rather that part of it 
above the island of Melos. 

363. dvrAetv: to bale. The ancient ships were so small that it was 
difficult to keep them from filling in rough weather. 

364. apdorépwv roixwv: both the sides of the ship. 

365. of épSovor: as they act, i.e. acting as they do.—xvBepvqrnv: 
refers to the oligarchical party collectively, or some representative of 
the aristocrats, whom, though a tyrant, the author would esteem as the 
salvation of the state. 

368. Sacpds: the division of spoils; referring to the property which 
was gained in these revolutions by confiscation, and which belonged to 
the public, though it was apt to be of especial benefit. to a few favored 
ones. —é€s T6 péoov: originally the spoil in war was placed in the midst of 
the army to be fairly divided ; so these words get the meaning of ‘‘ im- 
partially.’’ The simile controls the expression in general though it is 
apparently forgotten in particulars: there is no fair division of profits ; 
the deck-hands are in control; the whole situation forebodés wreck. 


Lhe: NOTES 


369. doprnyol: the word is very suggestive of aristocratic feeling; 
the goprnyoi are xaxol. 

370. kara... mly: engulf. 

371. yvix@#: perfect imperative, third person, from aivicow: let this 
be spoken in a riddle. —rots &ya8oto.v: for the good, i.e. the nobles. 

373. ot S€: on the other hand, some seek nobility, i.e. the aristocratic 
party, who alone had culture, but were reduced to poverty. 

375. Inability (to do) confronts them both.—é€pSeav: depends on 
apnxavin. 

376. The difficulty with the one party is money, with the other 
understanding. 

378. Siknyv elmeitv: utter judgment. 

Page 39, 1.380. ér6Aa: prosperity. 

383. IlA70e: in the estimation of the multitude. G. 1172; HA. 771. 
The complaint which is uttered:in this passage over the universal sway 
of wealth is constantly repeated in these fragments. Theognis and his 
confréres felt that all except themselves were possessed with an inordi- 
nate desire for money, while they represented the elect few who ought 
not to be left in poverty. ° 

384. trav 8 GAXwv «rX.: so then nothing else is of any avail. The imper- 
fect #v is used to call attention to the lesson as learned by experience. 
The tense is thus employed, especially with dpa, to suggest that a previous 
misconception is corrected. GMT. 39. 

385. cwhportvyv: discretion.. The word dnseriies both the wisdom 
and the moderation which belong to the perfect judge. Rhadamanthus, © 
for his unswerving justice, was made a judge in the lower regions. 

386. Sisyphus is the personification of cunning, and is thus representa- 
tive of a character peculiarly fascinating to the Greeks. The name is 
probably but a reduplication of cogés. He was said to have requested his. 
wife not to bury him. Then, after reaching the lower world, he com- 
plained to Pluto or Persephone of his wife’s neglect, and obtained permis- 
sion to return in order to punish her. Having regained his liberty, he 
refused to return to Hades until he was forcibly carried back by Hermes. 

389. Who (Persephone) brings forgetfulness to mortals, robbing them 
of their senses. 

391. apdikadtdiy: the expression is Homeric. Cf. Od. iv. 180 @ava- 
Tow pwéhav védos dudexadduyev. Also Il. xvi. 350. So Bacch. xiii. 31 (Kem: 
yon) érav Oavdrowo Kvdveov vépos Katy. 

393. rapapelperar: subjunctive with shortened mode-vowel. And shall 
pass the dark gates which restrain the souls of the dead even against their will. 

396. odpyor: dative plural feminine from ods. 


1 See ee 
eh nae 


THEOGNIS | 149 


$98. With regard to the persuasiveness of Nestor the Homeric lines 


would occur to the mind of every Greek: I]. i. 249 rod kal dd yAdoons 
_ péduros yYhuxlwy péev addy, and the words of Agamemnon ii. 370 4 may 


adr d-yopy wuKas, yépov, vias Axaayv. See also Il. vii. 325. 
399. ‘Apruav: the name is derived from the root of dprdéfw. The 


_ Harpies are the snatchers. They are daughters of Thaumas and Electra, 
_ both of whom are sea divinities, the former the son of Pontus and the 
latter the daughter of Oceanus. They are a personification of the storm- 
_ winds and the expression of Greek wonder at the sea. They thus became 
naturally the symbol of swiftness and power.: Iris, the messenger, is 


their sister. They are closely connected with the Kipes. Cf. J. Harri-, 
son, Prolegomena to Study of Gk. Relig., p. 176. 
400. ralSwv Bopéw: Zetes and Calais. Cf. Pind. P. iv. 325: 


Zyjtav Kadaty re. . . dvdpas wrepotouy 
vara tmepplxovras dugdw toppupéos. 


In the Argonautic expedition they were more than a match for the Harpies 
who were persecuting Phineus. — adap: sudden, quick. The use of ejué with 
an adverb is unusual, but more common in Homeric than in later Greek. 

Page 40, 1. 408. dvOpad2wv eAaxov: won possession of men. The idea 


_ of representing cares as winged (Theognis is imitated in this by Horace), 


and as having various hues, is a suggestive one. 

405. dida: the plural is used for the singular with the impersonal 
subject, a construction of which we have repeated examples in Greek, 
especially when there are different thoughts in the mind of the writer. 
The thought is marked as twofold. Let wicked men go on in their sin, 
but do not let their punishment descend upon their innocent children. 

407. d0ephs: the reading is doubtful, and this word is a conjecture of 
Bergk. It is from the same root as d@epifw, to slight, and hence may be 
rendered with haughtiness. 

411. aides: attracted into the relative clause, though it is to be read 
as also subject of dvririverv. 

415. 6... &pSev: the transgressor. 

418. doris: the relative is indefinite, and the sentence is therefore 
regarded as conditional, putting its verb in the subjunctive. 

419. xaréxov: compassing, being guilty of. 

426. rpvxovrar: note the indicative, to represent an actual fact. 

Page 41, 1. 429. és S€ reXeurhv xrd.: in the end you will be well content 


- that you obey. 


431, 432. bmerpéxor xeip: hold his hand over in protection. —al0épr 
valwv: epic. 


150 NOTES 


432. én: denotes purpose. 

433. Apollo was not merely the especial protector of Megara and the 
Dorian states, but was universally worshiped as the helping god, to ward 
off evils. 

436. oovdas Oeoioww aperodpevor: making satisfactory offerings to the 
gods. dpécxw is more usually construed with an accusative of person and 
dative of thing. 

438. Madwv: there are no data by which we can connect this refer- 
ence, or that in 1. 445, with any particular threatening of the Medes. It 
would seem necessary to refer it to a date not earlier than the first part 
of the fifth century, and so to conjecture that Theognis lived until that 
period, though it may be the echo of the terror produced by the Medes 
in their advance to the west during the latter half of the sixth century. 

443. Alcathous, the son of Pelops, restored the walls of Megara, and was 
assisted, according to tradition, by Apollo.—amédw axpynv: = dxpdmroduy. 

445. airés: correlative with airés wév above: you yourself fortified 
the city ; do you yourself keep off the foe. 

446. mddevs: Ionic for mwédeos = rb\ews.—tva wo. xrrX.: a COMMON 
idea of religion in its developing form is illustrated here: the gods are 
regarded as very dependent upon men for means of enjoyment, which 
gives greater opportunity to purchase their favor. 

451. ordow: the dissensions of the Greeks at this time, as later, ren- 
dered them liable to be overwhelmed by foreign invaders. 

Page 42, 1.454. EtBotns: the soil of Euboea was in many places rich, and 
especially adapted to vine-culture ; cf. rokverdgudov 6 ‘Toriacay (I). ii. 537). 

455. Eipéra: Doric = Evpdrov. 

456. ébitevv: = épidrovv: entertained with hospitality. 

457. éxelvwv: genitive of source. 

460. maow adev: having satisfied everybody. —’AtSew: sc. oikov. 

463. Ci. Theog. 548 (B.): 


Xph we Tapa oTdOunv kal yvapova rHvde Sixdooa, 
Kupve, dikny, isbv rT dudporépocr Sdpev. 


465. IIv@av.: = Ilv6o?: dative of place. 

466. mlovos é aSt0rov: cf. Soph. Oed. Tyr. 151 ras rodvxpicou Tvbadvos. 

471. a6: emphasizes driudfover. 

473. yévnrav: supply ris as subject. 

474. rovrdkis: poetic = rére. 

475. These lines are attributed by Hartung to Solon.—émlBa: = émi- 
Bn&.—8hpw: common people. The emphasis is on the noun, as well as 
on the adjective. —Keveddpow: empty-headed. 


THEOGNIS 151 


Page 43, 1. 477. dido8€crorov: slavish. The irritation of Theognis 
against the commons for asserting their rights is thus constantly reap- 
pearing. He is probably a fair representative of the aristocratic feeling 
_ of the age. . 

480. poadOaka kwtikrAwv: coaxing with soft promises. 

481. Cf. Soph. (inc. fab.) fr. 667 Nauck dvdpds kax&s rpdocorros éxro- 
doy pio. —iAov: connect with tis. —SeArSv: misfortune. 

486. ds: Sc. d\Bos.—ovdéev édv: worthless in itself. The principle is 
that for worthless men, that is the low-born, wealth is worthless. 

487. aperijs: virtue and valor were synonymous according to the con- 
ception of the ancients. 

488. caot: = owfe, from cadw. 

490. xdAkeos: this adjective appears also in Homer as an epithet of 
ovpavds, in connection with the ancient idea of the strength and firmness 
of the heavens. —dv0poTrav yapatyevéwv: the combination appears in 
Hes. Th. 879. Hesiod gives a little earlier, 1. 702, an account of the 
terrible convulsions at the coming together of Ovpavés and Tata, but 
whether the representation was in the mind of Theognis we have no 
means of judging. 

493. “HBa: be joyous ; literally, be youthful.—av: G. 1803; HA. 845. 

495. Tniyérovo: Taygetus, between Laconia and Messenia. The region 
was wild and woody, being considered a favorite haunt of Artemis. 

497. @edtipos: it is not known whether the fragment really belongs 
to Theognis, so that we can make nothing out of the name. The use of 
the nominative in place of the vocative is not uncommon. : 

498. érdyowv: i.e. for the vines. 

500. O@wpnxOels: cf. 1. 292 ; being filled with wine you will be far more 
cheerful. 

Page 44, 1. 502. kopdfoust: is used to express purpose, adapting its 


mood to the previous optative. ° 

503. 6 pév... 68: one man... another. | 

506. opynv kal pudusv Kal tpdrov: temperament and disposition and 
habits. 


508. évOéuevor Oupov épypéptov: having adopted a mind for the occasion. 

510. For in fact I myself in many cases failed in understanding; I 
praised you before I thoroughly understood your nature. 

511. atvioas: G. 1586; H. 984. 

512. viv 8 q8y xrr.: now forthwith like a ship I hold off. The ship is 
selected for the figure because of the impression of swiftness and power 
which its movement gives. 

518. wérv’: see L. and S. s.v. rérma ii.— él: join with verb. 


152 NOTES 


514. karaBq: os supplied from éy. 

516. aeipdpevos: receiving, i.e. drinking. 

517. xpadly ed meloropar: I will enjoy myself.— sop: as long as. 

520. auddrepa.: strengthens the re... Te. 

521. mapa kpyripe: over the wine. 

523. karabapeba Oupdv: let ws occupy the mind, i.e. give ourselves to. 

524. hépy: Sc. Ouuds. 

Page 45, 1. 527. Sopvogdov: join with dvaxra.—mévov: the toil of 
battle. This meaning is especially common in its use in Homer. 

528. reprdpevar: rejoicing to hasten over. , 

529. Eiuvov bro0jqocopar: I will give common advice, make a general 
exhortation. From its origin the verb has nearly the significance of Eng- 
lish suggest. The meaning is shown in the noun broAAKau. 

531. rév abrod xrd.: to get the good of his possessions. —avnPav Sis : to 
gain a second youth-time. 

532. od médXerar: it is not possible. —dvors Bavarov: cf. Solon 24. 9 od 

av dmrowva didovs Odvarov pvyo.. 

533. émi: connect with the verb; éredéyye = brings to dishonor. 

534. Gmrera: i.e. in whitening the hair. 

536. rot dya0o0t madkdpn: objective genitive. The accomplishment of 
good is difficult. 

537. kakotow: cf. 1.255 above. _ | z 

538. Serav: base-born. —ofvtépy: more passionate. 

543. mopdupéns: the adjective is Homeric as referring to the sea, and 
in this connection has a less distinct notion of color than in later use. 

545. dyaév: connect with dvdpa, referring to the noble again as 
being brave and strong. —yadrerorarov: most grievous. 

548. aorpov kal kuvés: = xiwy the star Zelpuos. 

Page 46, 1. 549. nada Aéyovres: cf. 1. 323, note. 

550. emer: hereafter, by and by. 

553. Do not by your haste get into evil. mrpdocw naturally has this 
meaning of passing through a certain condition. It is apparently con- 
nected with the root zep- from which comes tepdw. 

555. wérerar: is excitable, volatile. Cf. Aristoph. Av. 1480 dverrepd- 
oOa kai mrerorjaba Tas ppévas. 

557. opyhv: character. 

559. karaxptipavres Exovowv: keep concealed. 

560. rol 8: = oi d¢. : 

561. This couplet is entirely in. the spirit of Mimnermus, and is 
attributed to him by Hartung. 

562. xdalovo’: transitive, lament. 


THEOGNIS 356 


567. Kéorop kai IloAvSeuxes: the Dioscuri were appealed to as the 
helping gods, and also as presiding over laws of hospitality and friend- 
ship. See Grote’s Hist. Part I ch. viii; also Eur. Elec. 991: 


proyepav aldep év dorpors 
vatovot, Bporav év adds poblos 
TLLAS TWTHpAs exovTes. 


So Terp. 4 °Q Zavds kal Ajdas kddduoTor owTHpes. 

Page 47, ll. 571, 572. Méyvnras, Kodohdva, Spipyvynv: Magnesia was 
destroyed by the Cimmerians about the beginning of the seventh century. 
Herodotus (i. 14, 16) mentions Gyges as capturing Colophon and Alyattes 
as conquering Smyrna. The site of this last town is said to have remained 
unoccupied for about four centuries. The history of these towns is 
however not very clear. The rebuke against vfps is forever appearing 
in Greek thought, as the Greek is also forever preaching moderation and 
proportion. Cf. Bacch. xv. 59 (Kenyon): | 


ev “A nw 
uBpis, a movTov Sivauly Te Pods 
a\Nbrpiov Wracev, adris 


5 és Babdv wéumre. Pbdpor. 


576. é« kaxod: from a base-born family. 

577. ér a&dAhAowet: this is the usual construction with yeddw, though 
sometimes that verb is transitive. 

579. IIdotre: the god of wealth, said to have been rendered blind by 
Zeus, so as to distribute his gifts without regard to merit. 

581. pérpov: full measure, prime. 

583. {moue: cf. 1. 502. 

586. nAvdev eEavadis: went down and returned. 

588. IInveAcrns euhpwv: the two words are brought together as im- 
plying that his prudence and trustiness were especially proved in con- 
nection with Penelope. 

590. yfis.. . puxots: érBaivw is properly used both with the genitive 
and accusative. The case seems to be changed to suggest the power with 
which he seized upon the dread apartments of his house. The adjective 
Seupadéovs is appropriate, because they were in possession of his enemies. 

591. “Edis: personified goddess of hope. Compare the myth of Pan- 
dora and her box. 

Page 48, ll. 593, 594. IIiorts. .. Zwhpooivn: these are of course 
human qualities personified as divinities. mioris is used in the subjective 
sense of reliability, honesty, good faith. cwdpoctvn is the combination of 


154 NOTES 


those qualities which make a trustworthy man, including moderation 
and prudence, literally sound-mindedness. 

594. Xapires: the Graces are the goddesses who lend to life the 
charms of gentleness and culture, with especial reference to social life. © 

600. etoeBéwv epi: with reverence toward. —mpocpevérw: wait upon. 

603. dpatécbw: let him mark.—oxodtdv: crooked, unrighteous. 

606. Establishing base covenants for disgraceful deeds. 

611. kara0jcev: to lay up. For tense cf. G. 1277. 

612. Giving to good men lays up the best treasure. 

614. yvopn me(para mavros éxer: understanding holds all issues. 

Page 49, 1. 617. rav: possessive genitive ; the antecedent is Bporotet: 
for whom there is nothing worse. 

620. peylorny metpav Exors: you would give the highest proof. 

622. elpyer p79: 7 is usually added to épyw in the sense of to prevent, 
before an infinitive. 

623. ows ééXers: the conception of the r¥pavvos among the Greeks is 
that as he violates all law for his personal advantage, all ordinary laws of 
fair dealing can be ignored in getting rid of him. Compare the expres- 
sion of popular sentiment in the Harmodius and Aristogiton song: these 
heroes are extolled and even supposed to be translated to the Islands of 
the Blessed because they hid their swords in the festival wreaths and 
thus slew the tyrant (cf. Bergk Scolia 9-12). The sentiment leads to re- 
volting consequences in modern days when under constitutional govern- 
ments it gets possession of hare-brained fanatics. 

624. od véperis .. . ylverar: it is no cause for blame. This phrase is 
regularly joined with an infinitive (xaraxNivat). 

626. el ph potp xrr.: unless fate shall place a limit to the misfortune. 

628. BovAsdpevos: at will. 

631. domddabor: a prickly shrub used sometimes even for torturing. 

632. The idea is that it makes no difference whether the couch is hard 
or soft. 

634. xptwar: should conceal. The subject is dfavdrovs. We are not to 
call upon the gods to help us hide and escape our obligations. Compare 
the story of Glaucus (Herodotus vi. 86), who under oath attempted to steal 
a deposit, but when he consulted the oracle was told that to tempt the god 
was as bad as the original fraud. The oath was necessarily made very 
prominent in ancient times in matters of trust. 

Page 50, 1. 637. Kal pou kpadinv x7r.: and it smote my sad heart. 

640. The readings here are very variable. After considerable hesita- 
tion I have adopted that of Hertzberg. 

644. ddrnPoortvys: connect with pudprus. 





ARCHILOCHUS | 155 


ARCHILOCHUS 
I 


Page 52,1. 1. Oepdrwv: so the Greeks are called Oepdrovres ”Apnos II. 
ii. 110.—’Evvadiovo: the word appears in the Iliad as an epithet of Ares, 
but was employed further as an independent title of a distinct person- 
ality, generally emphasizing the wilder qualities of war, though at times, 
as here, substantially identified with Ares. 

_ 2. «al: used as correlative with uév. — Movoéwv Sapov: cf. Solon vi. 
51, Theog. 208, supra. ’ 


II 


1. sc. éori.—’Ev Sopi: the spear provides all.—pata: a cheap barley- 
cake, a common form of food for the lower classes. —pepaypévy : Aris- 
tophanes plays (Eq. 55) upon the similarity of this word to weuax nuevos : 
there is apparently the same thought here. 

2. “Iopapixds: it will be remembered that the wine with which Odys- 
seus tempted and overcame the Cyclops was from Ismarus, Od. ix. 198. 


% 


: III 


1. The x#@ev seems to have been a broad-bottomed earthen mug or 
cup, especially popular with soldiers and sailors. —céApara: benches. 
3. aype: take, draw. 


IV 


In a conflict with the Saii, a Thracian people, the poet confesses that 
he abandoned his shield, and fled to save his life. The frankness of the 
confession is especially characteristic of Archilochus (see Historical 
Introduction). We might conclude that this sort of conduct, or the pro- 
fession of it, became fashionable among poets, as Alcaeus, Anacreon, 
and Horace each make a similar confession. 

2. évtos: see L. and S. sub évrea. —ovdx @édwv: against my will, ie. as 
being hard pressed. 

3. Oavdrov réXos: poetic for Odvaror. 

4. éppérw: let it go. This verb is often thus used in the imperative in 
expressions of impatience. 


Vv: 


The Pericles who is addressed in the poem, of which we have here 


_ only three short fragments, seems to have been a citizen of Paros. The 


156 NOTES 


poem is a lamentation over fellow-citizens and friends who had perished 
at sea, and an exhortation to patience as the only solace. 

Page 53, 1. 2. pepddopevos: bewailing.—Oadrlys: in feasts. —wéds: 
the city at large, the state, in contradistinction to (ris do7r@v) any indi- 
vidual citizen. 

3. rolovs xrr.: for the wave of the loud-resounding sea has rolled over 
those so bound to us, and our breasts are swollen with grief. 

6. éml: join with verb. 

7. GAXoTE xkTrA.: Sometimes one, sometimes another, meets with such sor- 
row. —TaéSe: sc. xaxd, Supplied from kaxotou. 

10. drwodpevor: the participle with rAjre may ‘be considered as 
closely connected with the imperative, or as emphasizing its own inde- 
pendent meaning. The latter is more expressive here. Put away your 
grief and be strong. 


VI 


Kptrrwpev: exhortation to bury the dead who are washed ashore 
(IloweSdwvos .. . Spa). 


VII 
2. éhérwv: attending. 


Vil 


Archilochus goes as a colonist to the island of Thasos, but gives vigor- . 
ous expression to his discontent over the outlook. His comparison with 
the regions of the Siris is taken as a proof that,he was acquainted with 
southern Italy. The name appears, however, in connection with Thrace 
(Herod. viii. 115 and v. 15), and is hardly sufficient to fix the locality 
referred to. 

1. paxts: properly the ridge along the backbone of a beast. 

2. vAns: genitive ; depends upon émisrepys, from the idea of fullness. 


IX 


This fragment is alluded to by Aristotle (Rhet. iii. 17) as containing 
words put into the mouth of Charon, a mechanic of Thasos. Nothing 
more is known of its connection. Charon seems to have been taken as a 
type of contentment. 

Page 54, 1. 1. T'téyew: Gyges dethroned Candaules, and succeeded 
him as king of Lydia (see Herod. i. 8-14). His wealth became proverbial. 

2. {fAos: still refers to Tvyew: desire to emulate him. It is distin- 
guished from $@évos as denoting a more noble passion. 


ARCHILOCHUS 157 


8. In the scanning of this line, ew in both Oedv and épéw are drawn 
together by synizesis. The second foot in the verse is a tribrach,— 
tupavvidos: this is referred to as the earliest known usage of the word. 
These were the times in which it originated. 


xX 


1. ri@e. xrr.: leave all to the gods. 

3. kal pan’ ed xrr.: and lay men flat though very securely planted. 

5. wAavara.: subject is general. One wanders in beggary, bewildered 
in mind. 


XI 


With this description of a military leader one may compare that of 
Henry II given by R. H. Green (Short History of English People, Sec. 
viii): ‘‘There was something in his build and look, in the square stout 
frame, the fiery face, the close-cropped hair, the prominent eyes, the 
bull neck, the coarse strong hands, the bowed legs, that marked out the 
keen, stirring, coarse-fibered man of business.”’ 

2. yatpov: exulting in. —tmeEvpynpévov: from brogupdw. 

3, 4. mepl kvqpas.. . pouxds: bow-legged. 


XII 


2. Svopevav : connect with évavriov: presenting a bold front against 
the enemy. — adr€Eev: = adééov. 

3. Soxotoiw: spears. 

6. xaprotow ... kaxotow: G. 1181; H. 776. 

7. ylyvwoke x7d.: recognize the conditions in which men are placed. 


XIII 


The fragment is referred to by Aristotle (Rhet. iii. 17) as giving the 
words attributed to Lycambes, spoken to his daughter. 

Page 55, 1.1. Nothing can be unexpected nor be declared impossible. 

4. Adprrovros: this verse uses irregularly a spondee in the third foot. 

5. &k Tov: SC. xpdvov. 

6. tpav: partitive genitive with unéels, let no one of you ever wonder at 
the sight when. For the contrasting of life by land and sea cf. Pind. 
Pyth. iv. 30: ‘ 


dvrl deddivwy 5 éhaxuTrTeptywy trmous dpelWavTes Bods. 


158 NOTES 


SIMONIDES OF AMORGOS 
I 


The subject is the vast variety of dangers which threaten men. We 
can find here something of that same phase of thought which led to 
those grand portrayals of fate which we meet in the later tragedy. It is 
a part of the Greek expression of disappointment that individual free- 
dom is so hampered by despotic nature. 


1. réXos: destiny. 

2. day GA: as he will; the indicative points to the existing condi- 
tion in which he has actually arranged them. 

Page 56, 1. 4. d 84: equivalent to ofa 57. This meaning for the rela- 
tive is not unusual. 

5. @ed6s: as often in Greek, this noun is used without the article to 
express the general idea of divine agency. 

6. émumeBelyn : confidence. 

7. It is always the hope that the future will bring what is desired. 

9. odSels Sotis od KTr.: there is no mortal who does not think. 

12. txnrac: the rule requiring a negative before piv with subjunctive 
is not violated, as the idea suggested is old age does not let him escape. 

14. “AiSns: the god of the lower world; later the euphemistic name 
Il\ovrwv (wealth-giver) was popularly preferred. 

17. When prosperous, men are smitten with sudden death ; when un- 
happy, they seek death at their own hands. The text here is uncertain. 

18. Svorqve: the human mind revolts from such an end, and it is 
universally regarded as accursed. 

20. ottw xrr.: no lot is free from evil. 

21. xfjpes: fates. Always as evil, generally as bringing violent death. 
Cf. Mimnermus ii. 5, note. 

22. éoriv: takes singular from neuter rjuara, its nearest subject. 

23. odk av... ép@pev: we should not be absorbed in (in love with) our 
misfortunes, nor be tormented by having our minds upon our woes. 

24. xovtes: the compound verb éréyw is more common in this sense, 
being used with didvorav, ypdunv, vodv, or alone. 


II 


This piece is to be particularly valued for the glimpses of ancient life 
which are given in it, especially as it evidently refers to people of the 
middle class, of whom it is most interesting to know, and most difficult 


SIMONIDES OF AMORGOS 159 


to obtain information. It is a somewhat comical composition, arranging 
women in various classes according to their alleged origin. Thus Zeus is 
supposed to have formed them from swine, from foxes, from dogs, and 
from other sources, according to the character which is to be found in 
each. The piece is composed with considerable humor, and we must 
beware of interpreting into it a bitterness which is foreign to it, as well 
as of mixing modern associations with the types which are used. 


1. Xwpis: of a variable nature. The adverb is used as an indeclinable 
adjective. 

2. ra mpatra: in the beginning. 

3. rq: the dative depends on xetrac: about whose house all things lie 


disordered, covered with filth. 


6. kotrpinow: the use of the plural intensifies the expression ; as we 
say, quantities of dirt.—matverar: fattens herself. The word carries 
with it important moral associations ; she grows coarse and wanton. 

Page 57, 1.7. adurpfis: knavish. It combines the ideas both of cun- 
ning and of wickedness. — nk’: = éroince or éroujoaro. 

8. kakOv... Tdv dGpevdvwv: depend upon ovdér. 

10. The one of these (i.e. the good) she calls evil, and the other she calls 
good. —elwe: gnomic aorist (G. 1292; HA. 840). 

11. opynv § xrX.: at one time she has one humor; at another, another. 

12. Thv 8: sc. beds €Onke.— adrophropa :. the very mother over again 
(her mother’s own child), The dog was the symbol of shameless med- 
dlesomeness. 

15. A€Ankev: gnomic perfect with present signification (G. 1295). —v 
kal pydev xrr.: even though she sees not a single soul. 

18. od8 av pertxas pvledpevos: nor by soft words would he check her. 
The verb rravcee is to be supplied. 

20. But without cessation she keeps up an uncontrollable screaming. It 
will be noticed here, as throughout the whole piece, that women are not 
represented as kept in strict seclusion, but they take part with consider- 
able freedom in social life. 

22. wynpdv: stupid. The earthy origin suggests mental heaviness. 

24. The only work she understands is how te eat. 

25, 26. She does not know enough even to come to the fire when it is 
cold. 

27. Thv 8 & xrd.: and one God made from the sea; she thinks two ways 
in her mind. 

32. Thv: Sc. Hudpay.—ovK avextos kTr.: she is unendurable to look at or 
approach. The infinitives depend upon dvexrés. 


160 NOTES 


35, 36. She becomes rude and hateful to all alike, both friends and foes. 

Page 58, 1. 38. adafqpov: unharmful. 

42. Mister: sometimes one, sometimes another ; wardable. 

43. omodelys: ash-colored. Agog the ass is the subject of as many 
proverbs in Greek as in other languages. It symbolized stupidity, clum- 
siness, and obstinacy ; sometimes brutality. 

44-46. Reluctantly under compulsion and threats she completely acqui- 
esces and works to give pleasure (i.e. to her husband). 

_ 45. av: for ofv.—arovqeraro: the omission of the augment is unusual 
in Ionic poetry. xdmovncaro has been suggested as a better reading. 

46. téoppa: meanwhile. 

47. mports, tpofjpap: by night and by day ; always. 

49. ovtiwav: = dvriva ody: any whatsoever. 

51. émlipepov: Ionic for édiuepor. 

53. adnvqs: passionately eager. 

56. abvora: unconsecrated, as the sacrifice preceded the feast. 

57. tarmos: suggestive of pride and display. 

58. 7 SovAu xrd.: she turns her back upon servile work and tik, 

59. pvAns: the hand-mill was an indispensable article of furniture in 
the ancient household, and it fell to the women to work it, though in the 
more wealthy establishments the duty was transferred to slaves; cf. Od. 
vii. 104, xx. 105-109 ; Matt. xxiv. 41. It is evidently a simple state of 
society which Simonides presents to us. 

62. dvdyky xT. : she makes her husband show her favor even against 
his will. 

63. dé: join with otra. 

Page 59,1. 64. Sls, GAAoTe Tels: again and again. Usually the Greeks 
bathed histone the principal meal of the day. For her the ordinary wash- 
ings were not enough. 

66. Baletav: thick. The Ionians, both men and women, seem to have 
worn their hair long, and the latter decked it with elaborate head- 
dresses. Flowers were for special festal occasions. 

68. ra... €xovTt: her husband. 

69. ripavvos: a sovereign. tvpavvos was the title of the rulers who 
gained absolute power in the Greek states through the dissensions among 
the nobles, or between the nobles and the people, often by alliance with 
the democratic elements. The Bacored’s had hereditary power. 

70. Setis kTr.: who delights in such attractions. 

71. mOAkov: noted both for its ugliness and trickery. —rotro: refers 
to riv, but takes the gender of the predicate xaxéy. It is naturally some- 
what contemptuous. 


SIMONIDES OF AMORGOS 161 


74. aoreos: scanned as two syllables. 

76. amvyos, adrékwdos: with no figure, mere skin and bones. 

79. od5€ ot yéAws péAer: nor does she care for laughter. 

80. o¥8 Gv xri.: nor would be of advantage to any one. —aAAa Tote” 
opa: but she looks out for this. 

81. rotro: refers to what follows, as is not infrequent where it stands 
with no other pronoun in contrast with it; so 7006’ in the preceding line. 

83. thv Tis KTA.: any one is fortunate who gets this one. 

85. OdAAe xrr.: the means of life abound and grow larger through her 
diligence. 04\Xe carries with it the idea of rich and a ad abundance. 

86. dirty: loving. 

89. dpdpidéSpopev: gnomic perfect, as if pointing to a recognized in- 
stance. The poem might well have closed at this point, as these last eleven 
lines (83-93) both in their sentiments and in their general style and ex- 
pression are far superior to all the rest. It has indeed been suggested that 
the remainder really belongs to another composition. See Mure, Litera- 
ture of Ancient Greece, vol. iii, p. 182. 

Page 60, 1. 95. They are pvtonded for evil, and will continue to be 
for evil. ‘ 

99. od yap xri.: for never does one pass with good cheer pieoinh the 
whole day, whoever is united with a woman. 

101. ot8 ata: with difficulty, scarcely. 

102. dSvopevéa: the last two vowels are drawn together by synizesis. 

104. poipav. . . xapiv: adverbial accusative. ydpiv was originally used 
ip this way, or in apposition to the sentence, and so gradually assumed 
nearly the province of a preposition. jotpay imitates the construction of 
xdp. Translate, by the gift of God or the favor of man. 

105. eipotoca: finding some cause for blame she equips herself for strife. 

110. kexynvéros: from xalyw: as sign of freedom from suspicion. 
When the man suspects nothing. The sentence is unfinished, the aposio- 
pesis allowing imagination to suggest the evil. The neighbors exult seeing 
how he also is deceived. 

112. rhv qv: his own. 

117. &€ ovre: sc. xpévov: from the time when. Cf. Il. i. 6 é of 84 Ta- 
mpara duacTtHrny éplicarre. 

118. yvvaikds: i.e. Helen, referring to the Trojan war. 


162 NOTES 


ALCMAN 
I 


The fragment belongs to the class of poems known as Parthenia, which 
were especially cultivated at Sparta. It is upon a papyrus found in 
Egypt in 1855, but is unfortunately in a condition so marred and muti- 
lated as to be in large portions quite illegible. It is so unique, however, 
that it seems improper to ignore it. We present a portion which is suffi- 
ciently restored to make connected reading. 

The poem seems to have been a song in honor of Artemis Orthia, to 
whom the maidens were bringing a gift as an expression of their thanks 
(see 1. 26). The previous part, which it is impossible to decipher so as to 
make connection, had sung apparently of the conflict of Heracles and 
the Dioscuri against Hippocoon, king of Sparta. Then, in the portion of 
which we have the text, the thought of the poet reverts to his personal 
interest in the chorus which he leads, to the maidens who are before him. 


Page 62, 1. 1. There comes in some form retribution from the gods. 
But the happy man is he who with contented spirit completes the day free 
Srom grief. — ovav: = bedv. A Laconian form. 

3. StamAéker: the first syllable is obliterated in the manuscript. 

4. axXavoros: the word is conjectural. 

5. “AyiSes: genitive for -obs. Hes 

6. fF: = é, ie. abrhy.— bSvaep xrd.: of whose shining Agido bears wit 
ness. Cf. Romeo’s speech in Shakespeare, Romeo and Juliet, act ii, the 
passage beginning ‘‘ It is the east, and Juliet is the sun.”’ 

8. érawijv. .. popyoOar (for uwuacGac) : toutter any sentiment, for or 
against. 

9. kXevva: Doric for xcrevy7. This glorious chorus-leader is Hagesi- 
chora, mentioned by name below, whose beauty, even without her choice, 
forbids him to speak farther of Agido. 

10. od8 Ado: though against her will. 

Page 63, 1. 13. kavaxdroda: with sounding hoofs. 

14. trav bromerpiSlwv oveipwv: a descriptive genitive. Such as belong to 
winged dreams. 

15. "H ody : drawn together by synizesis. © 

16. ‘Everixés: the Enetoi (Latin Veneti) are connected with Paphla- 
gonia and with the Illyrian tribes, the latter being counted as descend- 
ants of the former. Some of them had evidently made themselves so 
famous as breeders of horses that their name was associated with the 


ALCMAN 163 


most famous steeds; cf. (Bergk) Frag. Adesp. 43 B ’Everidas rwdws orepa- 
vopopws. The imagined steed is of the best. ? 

17. dveuds: this would seem to betoken that the members of the 
chorus are of one family or clan. So this merry banter may be counted 
as the familiar jesting, not of the poet, but of girls bide have always 
known each other. 

21. There is an aposiopesis: words fail, but this is what Hagesichora 
is, i.e. what has been suggested and what she in person shows. Hage- 
sichora, wait, — there she is. 

23. med’: = werd. Next to Agido. 

24. Kodagatos: Colaxais was one of the mythical ancestors of the 
Scythians (Herod. iv. 5). So his name is associated with the race-horse, 
as the Scythians were famous horsemen. e/87vw was formerly supposed 
to refer to a famous breed of dogs, but later authorities tend to refer it 
also to some people known for their horses. This seems perhaps the 
more appropriate, though the exact rendering is uncertain. The maidens 
will vie with each other as steed with steed. 

25. meAedSes: i.e. Agido and Hagesichora. We have here apparently 
a play upon the word, as it may mean doves or Pleiads. The thought is 
carried on with the latter meaning in mind. They were the daughters 
of Atlas, pursued by Orion, and transferred to the heavens in their flight 
(see Class. Dict.). Even the myth was a little uncertain whether they 
should be doves or stars. The comparison is with the onpiov (= celpior) 
dorpov, as the dog-star was very prominent in Greek thought as associated 
with the heat of summer. It was conceived of as rather typical than 
individual. So these maidens vie with one another rising before us as a 
bright star as we bring our offering to Artemis Orthia. 

26. ddpos: the meaning is uncertain, but the word is given as mean- 
ing a plow. 

29. For here there is not at all such abundance of purple as to be our 
defense. The meaning is not very clear, but we may perhaps conclude 
' that the chorus thus expresses its es, on simple beauty rather 
than extravagant adornment. 

31. Spdxov: a bracelet or necklace in form of a serpent. 

$2. pirpa: head-band. 

34. iavoyAehapwv: = éavoBrepdpwv, with soft eyelids, or better, with 
delicate eyelashes. Bergk is so uncertain about the reading that he omits 
the word. In scanning, the first two syllables are united by synizesis. 

35. Navvas: = Navvois. 

36. cievdqs: = Oeoedys. 

37. Burakis. .. Kdenoirfpa: Doric forms = Ovdakls and KyenoiOjpa. 


164 Sai NOTES 


Page 64, 1. 88. AtvnowBpdras: sc. ofkov. She is apparently in charge 
of the maidens, perhaps as musical teacher. —évOotca: = édoica. — 
dacets: = dyoes. The meaning seems to be that the fair-haired Nanno 
and the othér maidens named could not win the triumph, but in Hage- 
sichora is security. The object of gace?s is what follows. You will have 
no occasion to say would that I might have sige aes and that Philylla 
might speak. 


SAPPHO 
I. OpE To APHRODITE 


Page 65, 1. 1. Ilouxdd0pov’: suggested, probably, by her throne in 
the temple at Mytilene. —’AgpdStra: = ’Adpodirn. 

2. Atos: notice accent. The Aeolic dialect throws the accent back in 
words of two or more syllables as far as the quantity will allow. In 
prepositions and conjunctions, however, it agrees with the other dialects. 
—SodrdmAoke: weaving wiles. 


5. rutd (for r7de): here = defpo.—ataora: = elrore. — Katrépwra (for 
kal erépwht): at any other time. 

6. aides: genitive (for avdods) from avéiw = addy. —dtovwa: = diovea, 
—mhru: = Tnr0OGev. 

7. &kAves: you attended to my call. — Alrowwa: = urodca. 


8. xptovov: = xpucodv. 

9. Gpp': = dpua. The Lesbian dialect avoids universally the rough 
breathing. — drofetEarwa: = brofevéiaca. 

10. orpot@o.: sparrows were sacred to Aphrodite. —ept: equivalent 
to vrép. 


11. apdvw: = odpavod. 

12. péoow: = pécov. 

13. ro: = ov. 

14. pedtdoato: from yedidw, for neddw. 

15. mpe: for ypco = qpov. —Syvre: = 5h adre.— Karri: and why. 


16. es. Aeolic for cadéw. 

Page 66, 1.18. riva... Tle(0w: whom do you wish Peitho to bring? 

19, pats: iota not subscribed, for uds. Notice the sudden change from 
first to second person, and the air of ease and. flexibility thus imparted 
to the style. 

20. Ward’: for Vargo or Varga, Acolic for Zargo?. —GSduxner: = doce’. 

21. kal yap ai xrd.: and I will bring aid, for v she ati thee, she shall 
. $00n pursue. 

23. pire: notice Aeolic recessive accent. 





| 


SAPPHO | 165 


24. kwik ebéAoira: even though against her will. 

26. pepuysvav: Aeolic genitive plural. et 

27. twépper: Aeolic for iuvelpe, as Aeolic verbs in » son p, instead of 
lengthening the stem-vowel in compensation for the omitted :-sound, 
assimilate it to the liquid. 

28. troo: = ich. 


II. ApDREssS TO A BELOVED MAIDEN 


This poem is translated by Catullus. 


1. Kfjvos: = xetvos: it is to be taken in a general, rather than a partic- 
ular, sense. Any one, yet it is used as if with a definite application, as 
the relative clause has the indicative. —teos O@éo.ic1.v: happy as the gods. 

2. tupev: = elvar.—dvnp: = 6 dvip. 

8. wdaciov: = mdnolov.—adv: = 7d’. That is, the Aeolic keeps the 
long a where the Ionic and Attic have » which has originated from an 
a-sound.— gwvetoas and yeAaioas: genitive singular for gwvotens and 
yedwors. 

5. r6: demonstrative. This causes my heart to flutter.—pav: = whp. 

7. estSov: = eidov: uv arises from the digamma (6 = Lat. vid, in 
video). The aorist form is used with a gnomic sense, to. represent a 
general truth by a particular instance. —Bpoxéws = Bpaxéws. Translate, 
Forthwith when I look upon thee, not a sound any longer escapes me. — 


dovas: = dwrfs. 
8. elke: = qKev. 
9. kop... aye: from xardyvum: was silenced. 


10. dradedpopakev: = vrodedpdunxev. 

11. ommdrecot: = dupyacr.—dpnp: = dpdw. —émppdpBeor: third plu- 
ral Aeolic. : 

12. Gkovar: ears. 

13. pw: = wor.—Spws: feminine in Aeolic. 

14. raicav: = racav.—yxAwporépa: the meaning of the adjective is 
yellow-green. It 3 is used as an epithet of the grass and foliage, but also 
of honey, and by Sophocles of the yellow sand. It became also the sym- 
bol of paleness. The impression made by colors among the ancients is 
quite apt to differ from ours, and the terms which they employ are less 
definitely and accurately used. 

Page 67, 1.15. upc: = eiui.— teOvaxnv: = = rebrancva: — ortyw Lahabeg: 
= é6rlyou éridejs: little short of dead. 

16. adda: i.e. AAen: distracted. ° 

17. rédAparov: = Todunrdv. 





166 NOTES 


III 
1. weAdvvav: = cednvyr. | 
2. amrukpUmrTowst: = droxpirrovcl.—devvov: = daeivdv: . assimilates, 
cf. I. 27, note. 
3. dmmota: = ordre. —mANPo1Ta: = rrAHOovea. 
IV 
1. ixpov: = 7d Pixos: coolness.—itobdov: from a form iedos for 
dad0s = Ofos. 
V 


1. Kimpt: a popular name for Aphrodite, because the island was so 
prominently connected with traditions of her early worship, and was 
considered her favorite abode. 

3. cuppeprypévov: joined with. 


VI 
This is the reply of Sappho to the address of Alcaeus (Alcaeus V). 
1. Hxes: = efxes. Aecolic contracts ee to y. So in the infinitive active, 
cf. felrnv. 


2. é&kixa: if your tongue were not stirring you up to speak some evil. 
4. GAN reyes: but you would speak out your honorable thought. 


IX 
Page 68, 1.1. dépes: thou bringest. 


2. av’ws: = Hus. 
This selection is imitated by Byron (Don Juan, iii. 107). 


ALCAEUS 
I 
Description of his hall ornamented with armor. 


Page 70, 1.1. matoa: Aeolic for raca: all the house is adorned in 
honor of Ares. 

2. kuviaiot: = xuvéas.—KatTrav: = kal? dv.—tarmor Adhor: the an- 
cient helmet was surmounted by a crest, formed usually of horsehair, 
which added greatly to the imposing appearance of the warrior. Cf. IL 
ill, 387 dewdv dé Adhos Kabdrepbev Evevev. 


ALCAEUS te 167 


3. vetouriv: = vevovow. —maccddos: Acolic accusative plural. 

4. kpiwrovcww: = kptrrovow. And shining greaves of bronze, hanging 
over pegs, conceal them from sight. —Kvdp.bes: shortens its penult con- 
trary to its usual quantity. —toxtpw: = icxupod.— BéAevs: = Beédeos. 

5. Alvw: = Alvov.—kolikat: = xotAar.—Kar: connect with BeBrAymevac. 

6. wap S€: adverb, moreover. — Xadxldtkar: Chalcis, in Euboea, re- 
ceived its name from the copper mines in its vicinity. According to a 
very old tradition among the Greeks, soppee was first discovered there. 
—omd0ar: swords. 

7. Fépyov: war. 


II 
The perils of the state depicted under the figure of a storm-tossed ship. 
1. "Acuvérnur: = dovveréw. I do not understand.—oraow: the com- 
motion, violence. | 
2. ro pev... 7d 8’: now from this side, . . . now from that. 


3. Gppes: = Tuels. 

4. hophpeOa: = Popovpeba. 

5. poxOetvres. . . pada: sore distressed. 

6. wep... €xer: tmesis. mepi is here nearly equivalent to brép, cf. 
Sappho i. 10. Already the water rises above the mast-stay. 

7. ANaidos: sail.—amdav: Aecolic for rav.—{aSynrov: = diddnrov: rent. 

8. Adkides: Supply elciv. 

9. xdAator: = xadGor: are yielding. —ayxowar: the text is doubtful ; 
this is Bergk’s conjecture, meaning the ropes attaching the sail-yard to the 
mast. 


III 


Page 71, 1.1. peOicOnv: = peducOfjvar.— twa: subject.—mpds Blav: 
with force, i.e. with a will. 

2. movnv: = mivew.— Miporros: Alcaeus was a vigorous partisan. 
Myrsilus has gained immortality because Alcaeus disapproved of him, 
but he and his fellow leaders of the people of Mytilene are not able to 
speak for themselves. 


IV 


Antimenidas, to whom this poem is written, was the brother of 
Alcaeus, who, after being expelled from his native land, entered the 
service of the king of Babylon. In recognition of his valor Antimenidas 
there received the sword with ivory hilt inlaid with gold alluded to in 
this fragment. According to the received dates, it would seem that the 
Babylonian king must have been the distinguished Nebuchadrezzar. 


168 NOTES 


1. éhehavrivay «rd. : works of art in gold and ivory became afterward 
exceedingly popular among the Greeks. This sword would, of course, be 
taken as a special prize from the wealth of the East. The passage, 
therefore, illustrates the early admiration for this kind of work. 

2. TO: = Tod. 

4. cuppaxes: takes the Aeolic recessive accent. —ptoao: sc. atrois. 

6. plav: sc. radaictay: lacking only a single palm of five royal cubits. 
The r7xvus Bacidjus Or Persian cubit was about an eighth longer than the 
Attic. Cf. L. and S. rfxvs V. The champion would have been eight 
feet three or four inches in height. —-amé: = dré. — wéptrev = rérrte. 


V 
The address of Alcaeus to Sappho, to which Sappho VI is the reply. 


VI 


The fragments which follow seem to have belonged to the class of 
odes known as oxédda. They were informal banquet-songs, paroenia 
(rapotua), originally extemporized in succession by the feasting poets, 
and deriving their name, perhaps, from the freedom and irregularities 
allowed in the versification. The ode from which this fragment is taken 
was imitated by Horace (Car. i. 9). 


1. "Ye: we see how the more common impersonal use of this verb 
arose from the omission, in later Greek, of the subject which is here 


expressed. —dopdva: =+odpavod. 
3. KaBBaddke: = xardBadde: the figure is taken from battle. Horace 
renders, dissolve frigus.—éml. .. riBeus: heaping up. 


Page 72,1. 4. év S& kipvais: = éyxipvas dé. 
6. yvédaddov: = yvddaddov or kvddadXor. 


Vil 


1. Oipov (the recessive accent is Aeolic): object of éwirpémnv. — émutpé- 
anv: Aeolic infinitive for ércrpéresv. 

2. mpokoouev xrr.: for we shall gain no advantage by troubling our- 
selves. —aodpevor: from dodw. 

3. Bixye: = Baxxe. 

4. peOvoOnv: = uedvcbjvar. 


Vill 
1. avqarw: genitive from &ynrov = dvnbov.—Séparoiv: from dépn. 
2. wep0érw: = mrepiérw. —mhéxTais: = méxTas. 


3. Kad... xevdto: = xataxedtw.—TO: = Tod. 


ANACREON 169 


IX 
The weakness of the state in enduring Pittacus. 
2. axdAw: = axddov. 
3. ddAXees: with one accord. 

x 


1. Adxvov: it was a violation of orderly habits to drink in the middle 
of the day. — SaxrvAos apépa: the day is but a finger’s breadth. The ddxrv- 
dos was the shortest Greek measure of length. The figure is perhaps quite 
as likely to come from looking across the finger at the horizon. 

2. Kad... Geipe: = KaTdempe, KdTaipe. — KVAly vats, peyaAats, qrouk(Aats : 
Aeolic form of accusative. — aura: from dtras with shortened penult. 

3. Semele, according to the Theban myth, which gained wide accept- 
ance among the Greeks, was the daughter of Cadmus and mother of 
Dionysus. —AaOuxddea: banishing care. 

4. kipvais: = xipyas.— €va kal S00: unfortunately Alcaeus does not 
state which numeral represents the water in his mixing-bowl and which 
the wine. Usage among the Greeks favored the larger proportion of 
water. To use two thirds wine would be to drink like a toper. Still, 
usage in the formula seems to put the water first, so we cannot absolutely 
conclude whether on this occasion Alcaeus meant to be temperate or 
exceptionally merry. 

5. mdéais: = mdéas. —Kebddas: rim of the cup; full to the brim.—a 
8 arépa xrd.: let one cup crowd close upon another. 


sO | 
CE: Hor, Car. 1: 38. 


ANACREON 


The first fragment is a prayer to Artemis, and perhaps the two fol- 
lowing belong to the same hymn. 


I 


Page 74, 1. 2. fav0q: fair-haired. The golden or light auburn hair, 
from its rarity in the South, was highly esteemed as an especial element 
of beauty. 

4. AnPaiov: the penult is shortened. The Lethaeus was a river in 
Asia Minor emptying into the Maeander. Near to it was the city of 
Magnesia, with which was connected a famous shrine of Artemis, wor- 
shiped, from the name of the locality, as Artemis Leucophryene. She 


170 NOTES 


was conceived under a type rather Asiatic than Greek, like that of the 
still more famous Artemis of the Ephesians. 

6. érxatopds: = eloxadopas. 

7. xalpovo’: with favor. This is placed last in the clause as intro- 
ductory to od yap. 

8. rousatvers: govern, or rule over. Compare the roimnv \adv of Homer; 
also Hebraistic use of romaivey in Matt. ii. 6; Rey. ii. 27, xii. 5, ete. 


II 

Prayer to Dionysus for the favor of Cleobulus. 

1. "Qvaé: by crasis for o dvat.—Sapéddys "Epws: Eros was, according 
to the earlier mythology, a divinity of great power, and made very promi- 
nent in creation as the uniting and organizing force in the shaping of the 
world. Anacreon belongs to the transition period in the conception of 
the god, holding a profound respect for his prerogatives and associating 
him with the nature-gods. Cf. Theognis 1278 (Bergk) where he is spoken 
of as omépua pépwr xara yijs. 

2. Dionysus as the god of luxuriant vegetable life has the nymphs in 
his infancy as his nurses and in maturity as his appropriate attendants. 

3. wopdupén: en drawn together by synizesis (G. 47.2; HA. 78). This 
is very frequent in case of e« with following vowel or diphthong, as dpéwy 
below. The word is older than the Greek use of the color which it after- 
wards came to represent. Its early meaning seems to have been associ- 
ated with the dark gleaming of the rolling sea. It came gradually to be 
used of brighter colors, and even of the rainbow; we may render it 
rosy, or radiant. | 

Page 75, 1. 4. émorpépeat (lit. turn) 8: but thou art wandering. 

7. Kexaptopévyns: the Greek favors the use of the participle. The 
English has not so much pliancy in construction and order. The adverbial 
modifier is perhaps as near an equivalent as we have: with favor hearken 
to my prayer. 

11. Séxer0ar: = dexéoOw, but is closely connected with the previous 
clause: let him accept my love. 


II 


Notice the change of cases in the proper name. 


IV 


1. wapSéviov BArAérrwv: with maiden’s glance. 
2. ov koeis: thou mindest not. 


1 ene 


ANACREON 171 


V 


1. Xhalpy: the playing at ball together seems to be used as symbolical 
of love. The expression, therefore, ‘‘ Eros challenges me to join in play,”’ 
signifies drawing together in love. —8nitre: = 6% adre. 

3. vive: poetic Ionic for vedméi: the dative depends upon cupraiferv. 
—roukidooapBdrw: = moidocavdddw: an Aecolic form. 

5. evxtirov: = the Homeric évxriuevos: well built; applied, as here, to 
an island, the idea is, filled with beautiful buildings. 


VI 


Page 76, 1. 1. qptv: with final vowel shortened. 

2. wdpa: = mdpeori.— ynpddeor: synizesis; so in ‘Atdew and dpyahén 
below. 

4. advacradifw: I weep. 

6. kal yap érotpov : for it is certain. —py avaBivar: synizesis. The sen- 
timent appealed to natural Greek feeling. Cf. Ibycus fr. 27: 


ovK eat aropOimévors (was ETL *papuakov evpetv. 


VII 


. The earlier Greek poets represented Eros as a divinity of very august 
prerogatives and power. Hesiod describes him as one of the great forces 
in creation, and also as relaxing the limbs and subduing the mind of 
gods and men (Th. 120). Ibycus complains of his constraining power 
fr. 2. Sappho, as we might anticipate, speaks of the violence of his 
attacks (cf. fr. 40, 42). So we have him presented by Anacreon as stern 


and overwhelming, very different from the conception of the god which 


belongs to a later age, such as we find in the Anacreontea which follow 
or in the picture of the Latin Cupid. 


VIII 


3. mpomiw: originally to drink before; then, ‘‘to drink to one’s 
health,’ or to challenge one in drinking, as they passed the cup from 
one to another. The Germans use the word vortrinfen with the same 
significance. | 

6. adva... BParcaphow: = dvaBaxxedw: to rage. 

7-10. pyxéd’. .. peAerapev: the imitation by Horace (Car. i. 27. 2) will 
be at once remembered. 

9. XkvOixqv: the Scythians and Thracians were proverbial for the 
wildness of their revels. Cf. Herod. vi. 84. 

11, bromivovres: drinking with moderation, 


172 NOTES 


ANACREONTEA 
I 


Page 77,1. 1. ropetov: in chasing. 

7. kar avrod: wpon it. 

9. orvyvov Opiwva: the constellation Orion became visible after the 
summer solstice and was regarded as ominous of storms. 


II 

Page 78, 1. 2. "Avaxpéwv: nominative for vocative. 

9. yépovrt: Anacreon, from his long life and well-known devotion to 
pleasure, became recognized as the typical aged voluptuary. — paAdov: 
supply rocodrw, corresponding to dom: with dew supply uadrov again. 

11. Molpys: originally goddess of fate, good or evil; then of evil 
lot; so preéminently of death; so ra Moipys = Odvaros. 


a 


III 


1. ra D'vyew: cf. Archil. ii, which the composer of this may have had 
in mind. Gyges was the founder of the royal line of the Mermnadae 
in Lydia; his riches were proverbial (cf. Herod. i. 14). The use of the 
neuter article with the genitive gives a very indefinite force. -ew in Tvyew 
are drawn together by synizesis. 

8. {HAos: properly differs from #04vos as representing a more worthy 
and noble desire. 

6. tmrfqvynv: properly the mustache, or rather the soft down which first 
appears upon the upper lip of the youth. Used also generally of the 
beard. Salves and ointments and garlands were always, among the 
Greeks and Romans, favorite accompaniments of feasting. 

Page 79, 1.11. as: as long as.—evSla... votetos: the words are 
placed in contrast in a very broad signification. 


LY. 


1. Oeovs: accusative after a verb implied, i.e. duvuvm, or one of similar 
meaning; cf. Xen. Anab. ¢ vi. 17 d6uvupe Oeods kai Oeds, also Z vi. 18 duwiw 
ipiv Oeods dravras kat rdcas.— ool: ethical dative (G. 1171; HA. 770). 

4. “AXxpéov: Alcmaeon killed his mother, Eriphyle, and became mad, 
being persecuted by the Erinyes. 

5. xo: = xal 6.—Xevkdrovs: the adjective seems to be used to sug- 
gest the swift flight of Orestes from the furies. 





ANACREONTEA 173 


7 


10. épatved’ “Hpaxdfjs: Heracles, smitten with madness by Hera, slew 
with the bow of Iphitus his wife Megara and her children. 

11. kAovav: is to be taken as governing the accusative with a sense 
similar to that of cpadaivwr. ’ 
13. Atas: Ajax, smitten with madness in his jealousy at losing the 

armor of Achilles, finally slew himself with the sword which Hector pre- 
sented to him. | 

14. per domiSos xpadatvev: the shield of Ajax was especially cele- 
brated (cf. Il. vii. 219). , 

a ey. 

Page 80, 1. 1. co: the dative of person with rovéw is much less usual 
than the accusative. —Oéres: G 8. 

3. Trapod: wings; properly, from the form of the wicker crate, some- 
thing broad and flat; so the flat extended wing. 

6. Tereus was a king of the Thracians. He cut out the tongue of 
Philomela (who afterwards became, according to different accounts, a 
nightingale or a swallow), in order that she might not be able to betray 
his crime against her sister. 

7. éketvos: the famous Tereus. —éxQeplfw: properly used of harvesting ; — 
here to cut out. 

VI 


2. éme@: imperfect of attempted action (G. 1255; HA. 832). 

4. aBovAov: inconsiderate in courting such an adversary. 

7. paxy: mpoxadéoua is used quite as naturally with an infinitive, not 
unfrequently also with a noun and preposition ; the simple dative, how-. 
ever, is not unusual in poetry. Cf. Il. vii. 218 mpoxadrécoaro yxdpuyn. — 
mpokadeto8ar: to challenge. 

Page 81, 1. 10. The equipment of the Homeric hero is followed 
throughout, the breastplate, the two spears, and the shield of ox-hide 
(cf. the description of the shield of Ajax, Il. vii. 220). 

15. eis: expresses purpose ; ‘‘ he sent himself for a weapon.”’ 

16. kapdins: uécos governs the genitive from its partitive signification, 
being equivalent in meaning to év pécw. 

17. &dvoev: undid me. The verb is in imitation of Homer. 

19. Bardo: G. 1858; HA. 866. 3. 

20. Why throw missiles afar when the battle is on within? 


VII 


2. kareurretv: to tell or number. 
3. otdas: Ionic for oicéa. 


174 NOTES 


6. mod: shortened form for rod. 

10. Koptv@ov: tle Acrocorinthus was consecrated to Aphrodite, and 
the city was universally celebrated for the attractions of love and beauty 
by which it tempted strangers. 

12. “Ayxatns xrd.: for it (Corinth) belongs to Achaia where the women 
are beautiful. Cf. Il. iii. 75’ Ayatda caddvyivacca. As the adjective cadX- 
yivaé is used of various localities, it is likely that Achaia in our text 
means Greece in general. 

Page 82, 1. 14. rlOe.: observe the continued action implied in the 
present. —AeoBiovs: sc. Zpwras. . 

15. kal péxpt: and reaching even as far as. 

16. Caria and Rhodes are taken to represent the very frontiers of 
Greece. ci 

18. ri dys: the speaker is interrupted by the wondering hoard — 
éxnpi@Ons: a word whose meaning is hardly fixed; the idea is that of 
being astonished: are you overwhelmed ? 

19. Xwpovs: both Syria and Canopus on the Nile were famous for 
their vicious allurements. 

20. mwd0ovs: loves. 

21. Gmravr éxotons: rich in all possessions. 

23. éropyiater: revels. médeco.w Would more regularly have év. 

24. Oérets App: G. 1358; HA. 866. 3. 

25. Tadelpwv: later Gades. Spain on the one side, and India on the 
other, are taken as the limits of the known world. 

26. Baxrpiwv: a people of Central Asia, north of the Hindu-Kush 
mountains; modern Bokhara. 


VIII 


2. weracoa.: from werdouac for rordouat. 

3. pipev: mvéw, to send forth an odor, is used with a genitive of the - 
source of the odor. 

5. Wexdtes: distill. Used with pipwr, though the genitive is specially 
appropriate only to mvéecs. 

11. Kv0Apy: = Kv6épeca, a name for Aphrodite, from Cythera as a site 
prominently connected with her worship. 

Page 83, 1. 14. rooatra: has intensive force. Am so serviceable. 
Pigeons have been messengers through all historic time, while the char- 
acter of the dove has made ita peculiarly appropriate bearer of love- 
tokens. 

18. It was peculiarly recognized in the ancient world that the highest 
and fittest reward for the faithful slave was to give him his-freedom. 


ANACREONTEA 175 


dl 


21. wéracOar: from wéraya for wéroua. | 

22. dpy: sc. kar’ Spy. Placing the preposition between two nouns which 
it governs is poetic ; cf. Od. xii. 27 7 adbs 7 eri vhs. 

28. mveiv: infinitive of purpose, G. 15382; HA. 951. 

37. kop@vys: genitive after the comparative \adiorépav. The crow has 
always been famous for his noise, as Hesiod speaks of Aaxépuga xopwrn, 
Op. 747. 


IX 


The poet’s charge to the painter how to represent his love. 


Page 84, 1. 3. “PoSins: the Rhodian artists became very distinguished, 
though their fame belongs to a later age than Anacreon himself. — kot- 
pave: master. | 

4. elrw: G. 1484; HA. 916. 

8. knpds: painting with wax belongs to the later period of Greek art. 
The literary allusions to it come from the Alexandrian or Roman periods. 
This passage, which is of course of uncertain date, contains perhaps the 
earliest reference which we possess to this method of painting. (For 
fuller information, cf. Smith’s Dict. Ant., art. Pictura.) The particu- 
lar method referred to here can hardly be determined with positiveness, 
but is probably the encaustic. | 

9. pvpov: genitive of source with mveovoas (cf. viii. 3). 

10. é6Ans: the picture being in profile, only one side appears in full: 
this is 6\n raped. 

11. wopdvpaiot: dark (cf. Anacreon ii. 8, note). 

15. éxérw xrX.: i.e. the picture. 

16. civodpv: the word is an adjective used by Theocritus to charac- 
terize a person in whom this is a special quality of beauty. Here it is 
used substantively, but 7d werddpvoy is still in the poet’s mind. Let it 
have, as she herself does, the imperceptibly mingling brows. —trvv in 
the next line is an appositive. 

18. viv: next; correlative to rd mpdror, |. 6. 

20, 21. dpa... dua: at once... and, or partly... partly; the dé 
suggests an understood péyv in the preceding line; at once gleaming like 
the glance of yAavemis’ AOhvn and languishing like the tender Aphrodite. 
To represent this characteristic of the goddess of love, her statues have 
the lower eyelid drawn up a little over the eye. 

24. Peitho is referred to by the poets as the daughter (Sappho 185 
Bergk) or the companion of Aphrodite. < 

25. pirAnpa: mpoxaretcbar takes commonly a preposition, rpés or es: 
in vi. 7 the dative; here, however, the accusative. 


176 NOTES 


Page 85, 1. 31. capxév: partitive genitive. The plural of this nour 
is generally used, especially by the earlier writers, as representing the 
different parts or muscles of the body, and sowame to be used indefinitely, 

32. éhéyxov: participle. 

33. dméxerxrnr. : itis enough, I see her very self; soon thou wilt even speak. 


Xx 


The idea lying at the basis of the poem is peculiarly suggestive. Love 
is made obedient to beauty only through the higher power of the Muses, 
It is the mental and moral endowments which hold an abiding sway. . 


XI 
3. avatpous: “Avavpos was originally a name of a river in Thessaly. 
coming then to be used as a general term for streams. 


XII 


Page 86, 1. 1. ‘H Tavrédov: Niobe, who was turned into stone upon 
Mt. Sipylus, in Lydia, originally belonging to Phrygia. 

2. dx@ats: from 5x6y. The masculine 80s was the usual form with 
this meaning. 

3-4. mais IIavdlovos: Philomela (or Procne, as the myth varied in 
form) was the wife of Tereus, and was changed into a swallow. 

5. elnv: optative of wish. 

8. hopis: dopéw differs from Pépw in having a frequentative sense, ive. 
that you might wear. | 

10. xpwra: the construction is apposition or attraction, the word rep- 
resenting the part taking the same case as the whole. 

14. papyapov: necklace of pearls. Cf. the song in The Miller’s Daughter 


of Tennyson: ; i 
It is the miller’s daughter, 


And she is grown so dear, so dear, 

That I would be the jewel ; 
That trembles in her ear: 

For hid in ringlets day and night, 

I’d touch her neck so warm and white, ete: 


XITI 


1. Aéyev: celebrate in poetry. —'ArpeiSas: introduced -as a standard 
epic subject. 

3. a: Doric form for 7.— BapBiros: apparently = \vpa, though it had 
properly a greater number of strings. The word appears repeatedly in 
these songs and more frequently than dupa, Ne 


ANACREONTEA Ly f° 


4. "Epwra: xe? governs an accusative of effect. The construction 
starts from a cognate accusative Axe? vuvov. 

Page 87, 1. 9. epwras dvrepover: sounded love-songs in response. 

10. xalpoure xrd.: we bid you farewell for the future. 


XIV 


. Aaywots: from Aaywds = Aayus. 

. Xaop OSdvtav: yawning jaws. 

. To vyKTov: the power of swimming. 

8. For women it had nothing more. 

10. dmracav: Doric contraction instead of -dyv. 
12. And by beauty one conquers both steel and fire. 


ao PF © 


XV 


2. éernoin: every year. It has the force of an adverb. 

Page 88, 1. 3. Oéper: dative of time. G. 1192; HA. 782. 

5. NetAov. . . Méuduv: eri goes with both nouns. 

8. II6@os: the personified desire was constantly represented as the com- 
panion of Eros: the one is nearly equivalent to the other. 

9. &kphv: = eri: another is yet in. the egg, and still another now half- 
hatched. 

13. ‘Epwrideis: the form is one which occurs repeatedly in terms 
denoting the young of animals. Cf. Aaydevs, AuKdeds. 

16. kvovoww: bring forth. 

17. yévyrar: G. 13859; HA. 866. 3. ce. 

18,19. For I am not able, by shouting, to scare away so many loves. 
- This meaning for é«Bodw is peculiar, but it seems the only fitting one. 


XVI 


1,2. OnBys . . . Ppvyav: subjects of epic verse. The former was 
prominent as the birthplace of many heroic characters, as also for the 
wars of ‘‘the seven,’’ and of the Epigoni, their descendants; the latter 
is used referring to the scenes of the Trojan war. The Theban cycle of 
epic poetry was only less prominent than the Trojan. 

6. orpatds: the host of the beloved. 


XVII | 
Page 89, 1. 2. xapayp’: the Greeks were in the habit of branding their 


race-horses. Cf. L. and S. xorrarias. 
4. tidpais: cf, Dict. Ant.; also Herod. i, 182; iii. 12; vii. 61. 


178 NOTES i 


| XVII 


1. ‘O dvap «rd.: Hephaestus, whose favorite dwelling-place was the 
island of Lemnos. FF 

5. @Bawre: as savages poison their arrows. The custom of poisoning 
arrows was evidently familiar to the Greeks, as is illustrated by the f. et 
that the poison was called rofudr (g¢appaxéy), from which we get our Eng— 
lish toxic, intoxicate, etc. Odysseus was not above using it (Od. i. 261), 
and Heracles poisoned his arrows with the bile of the Lernaean hydra; 
but such weapons were condemned by the Greeks and considered as b he 
longing to barbarians. We have distinct disapproval expressed by Aelia 
N, A. v. 16. Horace associates it with the Mauri, Car. i. 22. 3. 










8. ¢£: coming from. It expresses a closely connected circumstance. _ 
—4Gwrfjs: is used often of the battle-cry, and so of the battle; of. DL xy. 
718 oleere rip, dua 3 abroi doddées Epyur aura. a 

13. Ares takes the shaft, but, tortured by its effects, begs to be 
relieved. This, however, Eros refuses. a 

xx - 


Page 90, 1. 3. Bodrov- Botte, or Axctirus, is in tmmediato fn 
imity to the Great Bear. The idea then is “as it begins its decline”” __ 

5. xéarm: Ionic, = «cera: 

6. emorabeis: siopping. q 

7. oxmas: the door of ths ‘ainclent howes win ‘variicly asa 
ornamented ; for description see Smith’s Dict. Ant., art. Janua. The © 
knocking would be made with the metal rings upon the outside ; or might © 
pesars weet fo te eine ee 2 ee 
properly refer. | 

8. Gipas: the form was that of folding-doors. 

9. xara: connect with the verb. 

12. xacéAqvov: = xai dcédqvor. 

17. évopw: present, to make the description vivid; Lo.— $épovra: 
masculine as if raida preceded. 

Page 91, 1. 19. ieriqv: Ionic for écriar. a 

20. ve: re. . . re would be nearly equivalent to pé. . . dé: by a mix-— 
ture of expressions, we find re. . . 3é : 

26. feaxéve: participle from Bpé,w. 

28. qwap: the liver, taken as the seat of feeling. 

31. népas: my bow. The Greek bow was made of hor (ef. Hom. IL 
iv. et : 





3 
3 





SIMONIDES OF CEOS 179 


XXI 


2. SevSpéwv er Axpwv: on the tree-tops. 

4. Bacireds Oras: as if a king, or as happy as a king. 

The cicadae were widely celebrated among the ancients, honored in 
the people’s customs and their songs. The sound of these insects was 
always alluded to as particularly sweet; the ancient Athenians wore 
golden cicadae as emblematic that they were atréy6oves, it being granted 
that the insects were yryeveis. 


XXII 


Page 92, 1. 4. warayOeis: stung. 

13. a: = 7. 

14. The repetition of ré makes it more prominent in the mind and 
emphatic. Notice that the transitive and intransitive meanings of zrovéw 
are brought together; the former is unusual. 


XXIII 


Page 93,1. 8. exaprépovy dvAdrrev: I should keep steadfast guard over 
him, i.e. rdv Tdodrov. The omission of éy makes the statement more actual. 

4. Gv Oavetv €réXOy: if death should come suddenly upon me. 

11. wporéprw: send forth. 


16. redetv: to satisfy. 
: XXV 


The meter is iambic dimeter with some verses catalectic and some 
acatalectic. 


SIMONIDES OF CEOS 
I 


Page 95, 1. 2. d: = #: a Doric form, though they are very few in the 
writings of Simonides. 

3. Their burial-mound is an altar; in place of loud lamentation, there 
is continued remembrance; while the deep grief is their public praise. The 
altars of the ancients, especially when they were prepared for unusual 
services in the open air, were frequently mounds of earth. 

4. évradvov is appropriate to whatever belongs to the burial; it can be 
translated winding-sheet, though that will not Sree all the ideas which 


it Soe 


180 | NOTES 


6. olkérav: dweller; the idea is that they, in their sepulcher, give an 
unending abiding-place for Greek glory. This sepulcher has received the 
glory of Greece to dwell there. . 

7. paprupet: the object is the previous sentence. 

9. kéopov: adornment. 


II 


This ode was written in honor of Scopas, the Thessalian tyrant, to 
celebrate his victory in the chariot-race. It is peculiarly celebrated as 
being the poem with which is associated the story of the death of Scopas — 
and his friends. The half of the song which, by its reference to the ~ 
Dioscuri, roused the jealousy of the tyrant, has been lost. (See Smith’s 
Dict. of Biog., art. Simonides.) The morals of the poem are so peculiar 
that one can hardly fail to conjecture that it was arranged to fit its sub- 
ject, though with something very like sarcasm in its suggestions. The 
theme is the impossibility of securing and maintaining goodness. 


Page 96, 1. 1. ddabéws: = ar7Os. 

2. Tterpaywvov xrr.: perfect in hand and foot and mind. Cf. Aristotle 
Rhet. iii. 11: rov dyaddv dvipa pivar eivar TeTpdywvov peradopa, dudw yap 
tédeva : to say that the good man is rerpaywvov is metaphor, as both are perfect. 

3. elSas kTr.: a man, I mean, who knows the law which helps the state. 

5. tev yap xri.: for the race of fools is without end. 

7. toioi rt: relative. —aloypd: things disgracefully bad. 

8. Nor is the saying of Pittacus held by me to be appropriately spoken. 
véuw is here used with the signification of voultw. ” 

10. God alone would have this prerogative: it is impossible for a man — 
not to be bad when overwhelming distress comes upon him. 

Page 97, 1. 11. apdxavos is simply that which leaves no possible de- 
vice open ; so inconceivable, immense, overwhelming. 

12. mpdfats (= mpdéas) ed: in prosperity. 

13. et: supply for the condition a verb from mpdéats. 

14. 16 mieiorov: ‘‘ most continuously,’’ or to the greatest extent. 

15-17. Therefore, through desire for that which cannot be, I will never 
devote my allotted period of life to an empty hope which can gain no 
accomplishment, namely for a blameless man among all as many of us as 
enjoy the fruit of the spacious earth. dSi¢nuac is a word which in its origin 
properly denotes a doubting state of mind (dés, 500); the meaning then 
becomes that of expectancy or desire. 

16. ampaxrov may be used in the sense of that for which nothing can 
be done, which cannot be accomplished; or it may mean that which 
does nothing, and so vain or idle. 


SIMONIDES OF CEOS 181 


18. émi: connect with evipdr: lighting upon, discovering. 
19. émaivynpr: Aecolic form for érawéw. 


III 


Danaé, with her infant child Perseus, was placed in a chest and cast 
into the sea by her father Acrisius, on account of an oracle which declared 
that the child would kill his grandfather. The ark floated to the island 
of Seriphos, where Danaé and Perseus were rescued. The poem is the 
lament of Danaé. 


Page 98, 1. 1. Adépvaxt: a word of some indefiniteness, used even for 
- Deucalion’s ark. It means commonly, however, a mere box. —Sa.SaXéq : 
highly wrought, probably suggesting precious metals, though also used of 
wood. | 

2. Aipva: waters. 

3. otk Gdtdvrowrt mapeais: litotes ; cheeks wet with tears. 

4. didav: the early poetic use like a possessive. 

5. ov: contrasted with subject of éyw. —dwreis: used of quiet, restful 
slumber. 

6. Adbet: from AGPos = AHOos = AHjOn. 

7. Sovpar.: properly a stick of timber, a beam ; used here for the whole 
craft. 

8. karaXels: xar-eihw: shut close. 

10. adéyers: regularly takes the genitive, but occasionally, as here, the 
~ accusative. . 

12. mpdcwmov KALbev mpocatew: with face against face. 

13. But if that which is really fearful were fearful to thee thou wouldst 
lend a sensitive ear to my words. 

Page 99, 1.15. 8: corrective; but nay, I bid thee sleep. 

18. @apradéov: there was danger in presumption. 


EPIGRAMS 


The number of epigrams left to us by Greek poets is very large, and 
they come from a vast variety of authors, as this type of literature 
always has a place. In large numbers of cases they were written as epi- 
taphs, or monumental inscriptions in honor of the dead, in which cases _ 
they would be especially likely to gain remembrance and widely-extended 
fame. Simonides had the fortune to live in the stirring period of the 
great wars of the Greeks with the Persians. His epigrams thus became 
associated with the grandest efforts and sacrifices of his countrymen. 


182 NOTES 


We cannot always discover where each epigram was inscribed, nor be ; 
sure that all are attributed to their real authors. In large classes of cases 
they have come to us simply associated with certain names in the old : 
collections known as the Greek Anthology. This authority, when unsup-— 
ported, can hardly be relied on as better than a tradition, and beyond 
the name of the author even the tradition gives little light. The epigrams 
of Simonides have, however, the advantage of belonging to an age of : 
especial historical interest, about which we are comparatively well in-— 
formed. We give a few of those which are associated with his name, © 
especially those relating to the Persian wars. 


Vv 


1. Alpdvos: Dirphys was a mountain in Euboea. —té rrvxl: under} 
the shadow of the gorge, or within the gorge. 
The circumstances under which this epigram was written are uncertain. 


VI 


Page 100, 1. 2. xpvcoddpwv: in early times, almost all of the gold 
of the Greeks came from the East, through the Persians. There is no 
proof of a gold coinage in Greece, certainly of any extent, before the 
time of Alexander the Great. 


The following four belong to the Greeks who took part in the battle 
of Thermopylae. 


VII 


2. xtdrddes Téropes: this includes all the Peloponnesians who at first 
guarded the pass, the greater part of them being afterwards dismissed by © 
Leonidas (cf. Herod. vii. 202, 221). 


VIII 


This epigram is of interest because it belongs to the heroes of Ther- 
mopylae, but is even more noteworthy for its suggestiveness, in that it 
emphasizes not so much their Spartan valor as their obedience to Spartan 
law. 

IX 


1. Meyroria (Doric genitive): the soothsayer, an Acarnanian by birth, 
who refused to leave Leonidas. A separate monument, with’ this inscrip- 
tion, was erected to him. 

2. Lrepxerdv: the Sperchius is a small stream which enters the Sinus 
Maliacus just north of Thermopylae. 


SIMONIDES OF CEOS 183 


XI 


In behalf of the Corinthians who were killed and buried at Salamis. 


XII 


Page 101, 1. 1. "Axpés . . . ért Evpot: a sort of proverbial expression, 
used repeatedly for extreme danger. 
4. ipaynev: we attached to, loaded upon. 


XIII 


"ASepavrov: Adeimantus was the commander of the Corinthian fleet 
in the war against Xerxes. He was charged by the Athenians with cow- 
ardly conduct (cf. Herod. viii. 5, 59, 94), but seems to have sustained a 
good reputation among the most of the Greeks. It is fair to say that the 
Athenian accusation has rather the appearance of a hostile invention. 


XIV 


3. reOvaou: the verb is used in the perfect with the sense to be dead. 
XV 


Supposed to be also connected with Thermopylae. 


XVI 


Connected by good authorities with Plataea, where Pausanias says the 
Athenians were buried separately with an epitaph prepared by Simonides 
on the monument over them. See Paus. ix. ii. 4. 


XVII 


Associated with the battle of the Eurymedon, in which Cimon defeated 
the Persians, first at sea and then on the land, on the coast of Asia 
Minor. If the received dates are correct, this cannot belong to our Simoni- 
des, for the battle is given as occurring the year after his death. Some 
authorities, however, place the engagement earlier. 


Page 102, 1. 1. ’E€ ov: se. xpdvov. 

6. éxkarév: in the first engagement at sea, Cimon captured two hun- 
dred ships ; he then followed the enemy to the land, and routed them, 
and, according to Plutarch, afterwards defeated a reinforcement of 
eighty Phoenician ships. 


184 NOTES 


XVIII 


Epitaph upon a certain Leon, upon whose monument was a sculptured 
lion. It has even been conjectured that this was inscribed upon the mon- 
ument of Leonidas, as Herodotus (vii. 225) refers to the lion sculptured 
there. There is, however, no external evidence to sustain this view. 
There seems to have been a fondness among the Greeks for the figure of 
a lion bee a soldier’s monument. 

1. ov: i.e. rdv kdpricrov: and I guard the strongest af mortals. 


xx 
1. Tov atrot... drodAupévov: at the death of his own friends. 
XXI 


2. Timocreon of Rhodes was a lyric poet who spent a considerable 
part of his life in exile in Persia. He was indignant over his lot, was a 
good hater, and was well hated in return. He was also noted for his 
physical strength, and, as was customary with Greek athletes (see Ath. 
Deip. x), was a prodigious eater. So this epigram sums up his qualities. — 
a&vOpaovus: eirdy governs two accusatives, one of the person and the other 
of the thing (cf. G. 1073; HA. 725. a).—Kak’ elrdv: to defame. 


BACCHYLIDES 
I. Tue Youtrus or THESEUS 


A scene connected with the taking of the memorable tribute of seven 
young men and seven maidens from Athens to Crete, when Theseus ac- 
companied them as a volunteer. The ship in which Minos ‘is carrying 
them is proceeding on its way when the king becomes enamored of 
Eriboea, one of the maidens. Theseus expostulates with him by right of 
his divine lineage, which leads to a contest in which the king appeals 
successfully to Zeus to acknowledge him as his son by sending a token of 
lightning, and then calls upon Theseus to leap into the sea and bring 
back a ring which he throws overboard, and thus to furnish proof that 
he is acknowledged by his father Poseidon. Theseus returns triumphantly 
from the deep, with a robe and diadem from Amphitrite. The scene was 
the subject of one of the famous paintings of Micon in the Theseium at 
Athens. With regard to this and other illustrations of the story consult 
Frazer’s Pausanias, I. xvii. 3. 


BACCHYLIDES 185 


The Greek choral ode is an ornate construction with more or less defi- 
nite laws of composition. These had grown up as the expression of the 
Greek love of symmetry so that poets learned spontaneously to recognize 
them in their songs and even the language shaped itself to the poetic duty 
which it was to fulfill. German scholars have given much attention to 
the fact, especially in the odes of Pindar but also in those of Bacchylides, 
that there is a recurring similarity of words in corresponding lines of the 
strophes. For example, we have in our first selection 


Line 7: K\uT Gs Line 73: KAUT ay 
Lines 17-20: dm’ édpiwr Lines 83-86: é2’ ixplwy 
-Kapdlav Te mwovridv TE 
a&dyos ; &oos 
Avs vié Avs vids 
Line 18: Sivacev Line 107: duvedvro 
BS 20: eipév Te 6-100: eldév Te 
‘s 36 : Tlovevdau heO's Tlovevd av 


and so on. The purpose of these and similar assonances is not clear, but 
in any case they illustrate how much art was exhibited in the structure of 
a Greek ode. . 

The meters also are formed with a peculiar mingling of regularity and 
variety. The precise methods by which the Greeks maintained their prin- 
ciples of unity and variety in their musical compositions are far from clear. 
We can, however, divide the measures so as to get general correspondence 
- of time. In the arrangement of the schemes of scanning for these odes 
I have followed almost without deviation the authority of Professor Her- 
bert Weir Smyth’s Greek Melic Poets, a volume which I have found 
throughout most helpful and suggestive, and to which I am glad to 
acknowledge my obligation. 


Page 105, 1. 1. pevéxrumov : firm in the din of battle. 

3. “Iadvwv: used here for Athenians. 

5. ddpei: the sail. 

7. €kart: as in Homer, by the grace of; that is, the north wind, as fa- 
vorable for the voyage to Crete, helped them on the way by the favor of 
the goddess. —odepatyiS0s: who bears the aegis of war. 

9. ipepdprvKos: as in Il. xiv. 215 to the girdle of Aphrodite are attrib- 
uted all charms, giAér7s, tuepos, and others, so here her head-band is se-; 
lected as especially characteristic. | 

11. wapevixds: = rap0évov. The genitive depends upon drepée. 

13. AevKav: Doric genitive for \evKdv. 


* 


186 NOTES 


Page 106, 1. 15. TlavStovos exyovov: i.e. Theseus, who in popular 
nomenclature is son of Aegeus and grandson of Pandion. 

17. péAav: dark or somber, so angered. 

18. Sivacev: from divdw, a Doric form for duvéw. 

20. elpev: for eizrev. 

21. A desire no longer holy thou art permitting to hold sway. 

23. peyarotxov Blav: violence of desire; the adjective is compounded 
of the stem of wéyas and dyos from éyw. 

25. pérer: transitive, like érippémw: what the scale of justice allots. 

28. Bapetav: oppressive. 

29. xeSva: connect with xépa. 

31. épardvupos: lovely. The mother of Minos was Europa, the daugh- 
ter, according to the more common tradition, of REO, but here (as in 
Il. xiv. 821) of Phoenix. 

33. Kapé: = Kal eué. 

34. IIurOéos Ovyarnp: Aecthra. 

35. mdabeioa: cf. Aesch. Prom. 896 undé rrabeinv yauéra. The quantity . 
of the first syllable does not correspond to the other strophes. 

36. Ilovedav: Doric, = Toceddn. 

39. Kvwoolwv: the final syllables are drawn together by synizesis. 
Knossus is the well-known Cretan town where Minos ruled. 

40. The line does not seem to meet the metrical requirements. 

Page 107, 1.41. éptxev: = épvxerv. 

43. iSetv ddos: i.e. to live. 

44. Sapdceras: constrain. 

45. mpdo8e xrX.: before that shall happen we will show our strength 
of hand. ‘ 

47. apéraixpos: valiant with the spear. ; 

49. trepddavov: used in the good sense, extraordinary. 

50. “AXlov yap Bpo: Minos, whose wife was Pasiphaé, daughter of Helios. 

51. rorawviav: novel or bold. 

54. Polvcoa: Europa. 

56. mupréerpav: fire-trailing. 

60. xptoeov: connect with kdcuorv. He throws his ring into the sea. 

62. Casting thyself boldly into the element where thy father dwells. 

66. avaéBpdvras: ruler of the thunder. 

Page 108, 1. 67. Gperpov: bold or exorbitant. 

70. mwavdepxéa: sc. maida: wishing to render him illustrious. 

71. Ovpappevov: pleasing to his heart. 

73. at@épa: here feminine as in Homer. ‘In Attic use it is predomi 
nantly but not universally masculine. 


.BACCHYLIDES 187 


74. Cf, 1. 20. 

76. Sapa: the response.—ot: emphatic.—épvv’: apparently for ép- 
vu(c)o: throw thyself. 

80. nvdevdpov: poetic for evderdpor. 

81. ro 8: i.e. Theseus. 

82. avexaprrer’: yield, draw back. 

85. OeAnpdv: supposed to be derived from the root of béd\w (€0é\w). In 
the only other place where it appears, Aesch. Supp. 1026, it is used of 
water. Kenyon suggests to translate it yielding. The hoon EeAnpwol is 
used in Hesiod Op. 118 in close connection with noevyo, and it is perhaps 
better taken as equivalent to that word, i.e. guiet.—adoos: we have this 
same expression évriov &doos for the sea in Aesch. Pers. 111. Cf. adippurov 
ddoos Aesch. Supp. 868. 

86. tatev: from r7xw: the meaning is not clear, but perhaps the most 
satisfactory rendering is the son of Zeus (i.e. Minos) stilled his heart, that 
is, was satisfied at the fate of Theseus. 

88. tcxev: Doric infinitive. 

89. o86v: course, outcome. 

90. S8épv: = vais: subject of tero, which is intransitive. The swift ship 
sped on. —oéver: dative of manner, with force. : 

91. Gynra: = aqrns, a wind. 

92. “ASavaiwv: the penult is shortened before the following vowel. 

Page 109, 1. 93. q0éwv yévos: from the idea of plurality which it sug- 
gests, takes a plural verb. 

95. Aeplov: from Xelpios = Aepiders: gentle. There is difficulty with 
the meter. The manuscript places both syllables of ddxpu in this line. 
Joining the second syllable to the following line and reading xéov as one 
syllable meets the metrical demand. 

97. ddAwvarérar: dwellers in the sea. 

99: immtlov: epithet of Poseidon. 

100. Sépov: accusative of place. G. 1065; HA. 722. 

104. cédas: is this to be taken as literal and does the idea grow out of 
the phosphorescent light seen in the sea? - 

106. xpuvoedtrrAoKor ratviat : fillets of plaited gold. 

107. Suvetvro: middle from divedw = divéw: encircled. 

108. typotor: supple, pliant. 

110. ceyvdv: the text is doubtful, as the meter seems incorrect. 

111. Sépots: a poetic dative of place. 

112. aiéva: apparently a mantle, but the word does not appear else- 
where and the reading is questionable. —ropdvpéav: the last two sylla- 
bles are drawn together by synizesis. 


188 NOTES 


113. ovAats: adjective with xcéuau.: cf. Hom. Od. vi. 231. 

115. of: i.e. Amphitrite. 

116. 86Av0s: so Sappho calls Aphrodite doAdmoxe, i. 2. ddd\vos is appar- 
ently scanned as two short syllables. 

117. Nothing which the gods choose to do is incredible to sensible men. 

118. dpevodpars: from gpevodpas = gpevojpys. It is noticeable in the 
_ account that the bringing back of the ring is not specifically mentioned. 
The poet wishes to encourage our imagination. 

119. Aewrorpupvov: with slender stern. 

Page 110, 1. 121. tcyxacev: broke off; with what thoughts was the 
Cnossian chief occupied which he (Theseus) brought to an untimely end. 

124. dyAad@povor: can hardly differ much in meaning, as here used, 
from dy)aol. 

129. matavigav: the first syllable is shortened in scanning. 

130. This conclusion is proof that the poem was addressed to 0 
and sung by a chorus of Ceians. 


Il 


The poem is peculiar in being in the form of a dialogue, the speaker 
changing with each strophe. Aegeus, the king of Athens, is questioned 
by some Athenian or Athenians as to the meaning of a strange excite- 
ment which has broken out in the city. The reply tells of the approach 
of a valiant youth, of whom a herald has announced that he is coming 
to Athens from the way of the Isthmus, slaying the giants and monsters 
that oppose his course. It is a dithyrambic song in honor of Theseus, 
and is an interesting illustration of the prominence of the dramatic ele- 
ment in that form of poetry, and of the freedom of Greek choral song, 
which rendered it capable of vast variety of expression and opened the 
way for its rich development, issuing in the masterpieces of the Athenian 
stage. The fullness of Greek life was expressing itself in the manifold 
varieties of choral song, and so finally found voice in the drama. If we 
could gain a more perfect view of the history of Greek lyric we should 
doubtless be surprised by many bold experiments and charmed by many 
beautiful devices. This is one of the chorals arranged by the poet that 
at the Athenian festival Theseus may be appropriately celebrated. 


Page 111, 1.1. The address to the king may be regarded as coming 
from a chorus of Athenians, but there is nothing to define the speakers 
or speaker, so that it might have been a single person.—Bacvdrcd: i.e. 
Aegeus. —’A®avav.: a Doric genitive. 


BACCHYLIDES 189 


2. dBpoBiwy Iévwv: the name is applied to the Athenians, as they 
loved to consider their city the mother state of the Ionians. The adjec- 
tive also is to be taken as one which would be pleasing to the people. 
They congratulated themselves that they knew how to live with pleasure, 
in contrast to the oppressive discipline of the Dorians represented by the 
Spartans. 

3. rl: why.— véov: just now. —  xadkoxodov: kddwy properly meant a 
bell, and then was used of the bell or swelling mouth of the trumpet, 

4. dovwdav: note. 

6. appuBadrrAer: beset. 

10. cevovr : Doric for cevover: drive off. 

14. riv: Doric for oof. 

16. dpelas: having traversed. 

17. “IoOpiav: the Isthmian pass skirts the sea-shore from Eleusis to 
the Corinthian territory, where now the railroad and highway present 
wild and beautiful views as they wind along the shore, clinging to the 
precipitous hills, with the clear waters of the sea far below. It is only a 
few years ago, however, that travelers spoke of it as an almost impass- 
able path. Greek tradition loved to tell of robbers who had formerly 
infested this region, so well fitted to encourage attacks upon wayfarers, 
until Theseus in his coming to Athens exterminated the offenders with 
triumphant valor. Theseus was to be sent by his mother Aethra from 
Troezen to his father at Athens when he should be able to lift the stone 
and take the sandals and sword which his father had left there. This 
was his coming which is described in our poem. 

20. Xftvv: Sinis belongs to the border of Corinthia. He bore the name 
Pityocamptes from an unfortunate fondness he was said to have for 
fastening strangers on the bent pine-trees that they might be rent in pieces 
as the trees sprang back. 

21. Kpoviéa: Doric genitive for Kpovidov, i.e. Poaiiisn who here re- 
ceives the epithet Avratos, said to be connected with Thessaly, where 
Poseidon was especially revered as Sepsis let loose the waters which 
formerly covered the land. 

24. Kpeppvevos: Crommyon, to follow the usual speltbat of the word, 
was a place on the borders of Corinthia. Here the wild sow Phaea, rav- 
aging the country so that Theseus came to the rescue, gained immor- 
tality for herself and helped to secure it for the hero. 

25. Sciron, dwelling in the narrow part of the pass, was said to com- 
pel captured travelers to wash his feet, and then, when they were unsus- 
piciously engaged in their task, to sah them into the sea. 


190 NOTES 


26. Cercyon lived in the neighborhood of Eleusis, and forced stran- 
gers to wrestle with him. 

Page 112, 1. 27. é&xev: checked, put an end to.—Tlodvmfpovos: the 
myth is the one popularly associated with the name of Procrustes, who 
fitted his captives to his bed by cutting them off or stretching them out 
as the case might demand. Polypemon is given by Pausanias as identical 
with Procrustes. But here Procoptes seems to be the principal character, 
wielding the weapon which mutilates the unfortunate victims. The form 
of the myth as here given we cannot certainly recover, but perhaps the 
best interpretation suggested is to make Polypemon the father, and Pro- 
coptes the son who has inherited the violent practices of his father. 
Translate, and Procoptes let fall the mighty hammer of Polypemon, having 
found a man superior to himself. 

31. Tiva...mdé0ev: a double question in a single sentence, according 
to a usage not uncommon in Greek, from Homer down. Cf. Od. i. 170 
Tls mébev eis dvdpar ; 

35. There is apparently something wrong in the text, as there is a syl- 
lable lacking at the end to make the meter correspond to the other 
strophes. The second syllable in the line should also regularly be short. 
Kenyon reads 7 pévov rT dvordév ré mv. Smyth reads ody érdocw. So Weil 
and Blass, comparing Eur. Hec. 1148 yévoy odv réxvoicr. 

41. @eds: the glory of the coming hero is further enhanced by the 
divine commission. 

42. phoerar: the future with é¢pa in final clause is rare. GMT. 324. 

45. Cf. Solon vi. 8 rdévrws vorepov #AOe Sixn. 

46. Avo date: according to the myth as generally given Theseus was 
alone in his journey to Athens, but these popular stories had naturally 
many variations. —épapretv: the manuscript has duapretv, which is here 
manifestly another form for éuapreiv. 

48. The verse is incomplete, lacking one or more words apparently 
defining éidos. 

49. Two spears belong to the equipment of the hero from the time of 
Homer down. The vase-paintings largely represent the warrior as so 
armed. 

50. kniruxov: by crasis for cal evrukov = evruKToy. 

Page 113, 1. 53. otAvov: woolly. 

54. xAapsd’: the chlamys was a short cloak, said to belong especially 
to Thessaly, but worn largely by horsemen everywhere, and a favorite 
garment of the Athenian ephebi. 


BACCHYLIDES | 191 


55. Aapviav: Lemnos was always associated in Greek thought with 
volcanic fires. The island was sacred to Hephaestus; cf. Soph. Phil. 800: 


ro Anuvly T@d dvaxadouuevy mrupl. 


56. holvicoav pAdya: cf. Pind. P. i. 45. 
57. abvpparev: defined by its appositives, rodéuouv and udyas. 
59. xadkeoxtitov: with brazen clang. 


III 


1. The selection is a fragment apparently of a paean in honor of peace. 
—eipjva: peace is personified, but the poet shows here no consciousness 
of the mythology connected with her as a divine being. Hesiod presents 
Kirene as one of the Horae who preside over the order of nature: and 
especially the seasons. She had, at least in a later age, an altar and stat- 
ues at Athens. One by Cephisodotus, representing Eirene with the infant 
Plutus in her arms, is known to us by a replica in Munich which has 
become very famous in modern times. How natural it was to personify 
Peace, is illustrated again by Aristophanes in the play which he has named 
after her. —peydéda: neuter plural accusative. G. 1054; HA. 716. b. 

2. pedtyAdoowv: cf. Aesch. Prom. 172 wedvyAwooos Iebots éraodaiory. 
—daovsav: Doric genitive plural. 

3. al@erOar: depends upon rixre. 

5. pédewv: construed with genitive and dative, as is customary. G. 
1105; HA. 742. 

6. mwépragiw: ‘‘ porpax’’ is used here apparently as a general term for 
the fastenings on the inner side of the shield. More specifically it was 
probably a thong running in loops a little inside of the circumference, to 
be grasped by the hand while the forearm was under the éxavos, a strip 
(usually of metal) which went across the diameter of the shield. —at@av: 
dusky or dark brown. The root is connected with atéw and signifies the 
various colors of the murky flame. The case, like that of dpaxvay, is geni- 
tive as above. 


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tt aa : 4 ‘ = : Aone et Rt ees reg AP 

: er ae eee a : f 





Ae Ties ok 


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mar ewt 5 


met ote. 
oe 


“ae — : org es 
ete Pere = - 


ana ae 


io Aose s ~* 
Ps et OS gs aw ieege” 0” 
pe — cox et gee rae 


~Mia gt 








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eat 
as 

















at >. . a = = , y ie ry - . ." , - 
- —<_ r , a % . are Sen “a ce MS ? —_ - TN nd - a - 
he SP es ace 5 7 DS ee ee, wy ae 28a oa) =f : 4 s at 
Ce, - orale ¥ ry eet { ee ~ Suhel 5 z. a pes 2 ~ e i= ‘! =, 
emt - 5 > pet RS “oun P + - nem als g : . 
Senet : 
\pgeesSeamaaet pe 
Setsreypee lh 





